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Garden of Knowledge –
World-wide Survey of the position of
Music Therapy Training
Thesis submitted for the dissertation to the acquisition of the
academic degree of the
Doctor scientiae musicae
at the Institute for Music Therapy of the
University for Music and Theater, Hamburg
Author:
János Kollár
Debrecen, Hungary,
2003
Referees:
1) Prof. Dr. Hans-Helmut Decker-Voigt M.A.
Hochschule für Musik und Theater, Hamburg
2) Prof. Dr. med. Ralph Spintge
Hochschule für Musik und Theater, Hamburg
ACKNOWLEDGEMENTS
I would like to acknowledge the altruistic help of many people for the preparation of
this dissertation.
The topic of my dissertation was developed within the framework of the project
“Studiengangsgründungen Musikterapie/Musikmedizin” in Hungary, conducted by
Professor Dr. Hans-Helmut Decker-Voigt, director of Instituts für Musiktherapie der
Hochschule für Musik und Theater, Hamburg and president of Akademie der Herbert
von Karajan Stiftung, Berlin/Salzburg. So, first of all I would like to express my
heartfelt thanks to him, to my Doctor-Father, who encouraged me continuously from
the very beginning of my work and who helped me with his excellent ideas. Without
his devotional work the making of this dissertation would have been impossible.
I would like to thank for Dr. Mrs. Urbán, Katalin Varga, who inspired me with her
great, wise advices and guidance.
I would like to express my acknowledgement to Professor Dr. Péter Molnár for
urging me and making me possible to work on this dissertation.
I am very much obliged to Jane Creagan and Professor Dr. Denise Erdonmez
Grocke for making plenty of addresses of music therapists available for me.
I am grateful to Dr. Attila Bánfalvi for time and for his inspiring thoughts about
psychoanalysis.
I would like to thank the Hungarian team of the project “Musiktherapie- und
Musikmedizin-Studiengänge in Ungarn” working hard on introduction Music Therapy
in Hungary, namely Erika Csaba, Dr. Anna Fekete (PhD.), Márta Király, Dr. János
Papp, Mrs. Katalin Urbán Varga, Dóra Varvasovszky and Katalin Végh. Through
their experience and suggestions they helped me in preparation my dissertation time
by time.
Hereby I express my high esteem toward Dr. Klára Kokas who inspired me from the
very beginning to deal with Music Therapy. Her fascinating style and training
methods are indispensable in the realm of Music Therapy.
And last but not least I would like to send my warmest greetings to Everybody who
spent her or his valuable time and effort for replying to my questionnaire. Thank you
very much!
TABLE OF CONTENTS:
INTRODUCTION
8
GARDEN OF KNOWLEDGE
8
MUSIC THERAPIST
16
MUSIC
19
THERAPY
22
CULTURE AND MULTICULTURE
25
MUSICMEDICINE
27
MUSIC THERAPY IN HUNGARY
28
PERSONAL REASONS FOR WRITING THIS DISSERTATION
33
HYPOTHESES
37
METHOD
40
RESULTS
44
ARGENTINA
Universidad Abierta Interamericana
AUSTRALIA
44
44
45
National Education Committee of the Australian Music Therapy
Association
45
The University of Melbourne
47
The University of Queensland
51
CANADA
Capilano College
DENMARK
Institut for Musik og Musikterapi
ENGLAND
Anglia Polytechnic University
FINLAND
Jyväskylän Yliopisto
53
53
57
57
59
59
66
66
FRANCE
70
A.F.M. Association Française de Musicothérapie C.F.C.
Université René Descartes Paris
GERMANY
Fritz Perls Institute
70
71
71
Fachhochschule Frankfurt am Main
102
Fachhochschule Magdeburg
103
Universität - Gesamthochschule Siegen
104
Hochschule für Musik und Theater, Hamburg
106
GREECE
Hellenic Music Therapy and Creative Expression Society
ISRAEL
109
109
110
Bar-Ilan University, Ramat-Gan
110
David Yellin College
116
ITALY
121
Associazione Italiana Assistenzia Spastici
THE NETHERLANDS
121
122
NVKT Nederlandse Vereniging van Kreative Therapeuten
122
Stichting Register Creatieve Therapeuten (SRCT)
124
Hogeschool Van Arnhem En Nijmegen
125
NORWAY
Sogn og Fjordane College
SPAIN
127
127
128
Instituto Música, Arte y Proceso
128
University of Barcelona
130
USA
143
University of Alabama
143
Arizona State University
144
Chapman University
145
University of the Pacific
149
Colorado State University
150
Naropa University
151
Florida State University
153
Georgia College and State University
155
Illinois State University
156
Western Illinois University
160
St. Mary of the Woods College
163
University of Evansville
164
University of Iowa
165
University of Louisville
167
Anna Maria College
168
Berklee College of Music in Boston
171
Lesley University
172
Eastern Michigan University
174
Western Michigan University
176
Augsburg College
177
University of Minnesota
178
William Carey College
179
Maryville University
181
University of Missouri-Kansas City
182
Molloy College
183
SUNY-New Paltz
186
Appalachian State University
187
University of North Dakota
195
Baldwin Wallace College
200
University of Dayton
201
Marylhurst University
202
Duquesne University
203
Elizabethtown College
208
Immaculata College
209
Marywood University
211
Slippery Rock University
215
Temple University
217
Charleston Southern University
218
University of the Incarnate World
222
Radford University
223
Alverno College
224
University of Wisconsin Eau Claire
226
University of Wisconsin
227
DATA PROCESSING
229
CONCLUSIONS
236
DISCUSSION
237
MUSIC THERAPY IN HUNGARY: PAST, PRESENT AND FUTURE
239
―ONTHOGENESIS‖ OF MUSIC THERAPY IN HUNGARY
239
NEAR FUTURE – ACREDITED TRAINING OF MUSIC THERAPISTS
IN HUNGARY
244
THE KOKAS-METHOD
270
POSSIBLE WAYS OF THE FUTURE
276
BIBLIOGRAPHY
283
APPENDIX: QUESTIONNAIRE
294
AUTHORSIP
297
CURRICULUM VITAE
298
INTRODUCTION:
Garden of Knowledge
I would like to refer to Kenny (1998) and his thoughts of Tree of Knowledge. ―I like to
think in terms of the metaphor of the ―Tree of Knowledge”. In this tree, philosophy is at the
root of knowledge. Whenever we discover new things, our discoveries are rooted and
influenced by our philosophies. Our philosophies inform our theories, being the trunk, the
maps we create to understand phenomenon. These maps guide us in our practice. The data
which we accumulate as the result of our research methods is the fruit of our efforts, the
manifestation of the long process which began deep inside the earth. We might even ask, what
influences have nurtured our philosophies and helped them to grow? Then we can appreciate
the connections between philosophy, theory, method, and data. Ultimately, the data returns to
the earth, which in turn, nourishes the roots of the tree of knowledge for seasons to come‖.
Figure 1: The Tree of Knowledge (Kenny, 1998)
Every country dealing with music therapy has it own Tree of Knowledge regarding
philosophy, theory and research methods of music therapy. There are individual trees all over
the world. Why shouldn‘t we build a Garden of Knowledge? In this garden the individual
trees are not necessarily uniform. It would be nor very interesting neither possible. The
diversity of the trees gives the garden a chance for making good progress.
Coming from a former socialist country has a lot of disadvantages but it has also
advantages. I had the possibility of experiencing what is the result if people believe that
equality is the same as uniformity. I don‘t want to make the same mistake as our former
political leaders did. I don‘t believe that music therapy can be uniform in several different
countries. I agree with Ruud (1998) who claimed that since we lived in different subjective
realities, we were differently informed by our languages, values and cultural realities. We
have been always communicated through language. This means a choice of metaphors and a
narrative structure which is enforced upon our descriptions of reality.
Nevertheless I believe that there must be a kind of similarity between the ―trees‖
otherwise the ―garden‖ can‘t be called garden just a wild forest.
How can we help our common garden to boom? How can we help trees to
communicate with each-other? There are two basic ways of the trees‘ communication. The
first is through their roots. In our case it means that if the philosophies of music therapy
developed in every country can reach each-other then our opinions have the opportunity to
―meet‖ each-other and our ―forest‖ can be called ―garden‖. The other possibility is a storm. A
strong wind can help the leaves of the trees to ―talk‖. A common danger, a stormy wind can
bend the trees to each-other. As far as me I would like to believe that we can grow our roots to
reach one another and we don‘t need storms or tempests to help us to speak.
International standards for music therapy are difficult to elaborate. It is especially true
for the research. It has both epistemological and methodological reasons, since music has its
own epistemology and the research in music therapy has its own methodology. It is itself a
method of research. It is encourages the creation of unique methodology for every situation
(Bruscia, 1998).
Nevertheless music therapy can be accepted by other sciences only in that case if it has
a common quantitative and qualitative research culture. After the latest results of the research
of psychotherapy the quantitative and qualitative research should be no longer against eachother. (Decker-Voigt, 1994) The problem is that standards for qualitative research make very
little sense when imposed upon quantitative research and conversely reliability, validity,
generalizability and probability are simply irrelevant to the purpose, assumptions, and
methodological problems of qualitative research (Bruscia, 1998). Thus our qualitative
research culture has to be developed. Qualitative research approaches seem to be promising in
providing insight into interventions in music therapy that are determined by all participants‘
subjectivity, intuition and wholeness (Langenberg et al., 1993). The importance of
embracement and elaboration of qualitative research culture in music therapy has been
already suggested by several experts (for eg. Kenny, 1998; Bruscia, 1998; Ruud, 1998;
Langenberg et al., 1993).
The main characteristic features of qualitative research are summarized by Ruud
(1998). Accordingly qualitative research is holistic, empirical and naturalistic, descriptive,
interpretative, emphatic, based upon ―grounded theory‖ and emphasis is placed on immediate
observations and spontaneous interpretations.
Forinash (1989) makes a suggestion for using phenomenology as a research method
since it captures the dynamic qualities of art and human service. The Author considers
important to apply alternative methods of research in music therapy.
The lack of appropriate communication between the members of the World of Music
Therapy, the lack of Garden of Knowledge has its particular results. Even in the face of a
growing body of worldwide psychological and cognitive research that confirms beyond
further question the psychological importance of music and art, the importance of music (as
well as the other arts) in education is questioned. Music is not recognized as it was in classical
antiquity as the center of education from which all else flows, the basic among basics. Music
programs are being gradually removed from many schools. In accordance with it, the
profound psychological and spiritual importance of music is not generally understood or
accepted (Hollander, 1988).
Nowadays Western medicine has not seriously considered music as a healing medium.
Throughout history, music has been thought of as a healing force, but more recently modern
medicine has not looked with favor on such pronouncements. Most medical practitioners do
not see music fitting into scientific procedures which have hailed the left-brained mentality
over right (Bonny, 1986). Another great tragedy in contemporary research in music therapy is
the tendency to be so overwhelmed by the meticulous parts of each fragment of study that the
whole picture cannot be clearly seen. There is also another danger of going deeper and deeper
into a field of study without going high enough to see how the total landscape of the field is
changing (Campbell, 1988).
Even the definition of music therapy is different in different countries. According to
Aigen (1991) the words ―music therapy‖ will ultimately require definition; what needs to be
determined is the source of this definition. ―If we look at music therapy as an artifact, we can
describe what music therapists do and reach a consensus on the meaning of ―music therapy.‖
Alternately, if we believe that there are some inherent organic, psychological, or symbolic
processes essential to music therapy, then we will need to define it based upon discovering
these essences.‖
The following definition is the ‗Joint Declaration of the 1982 International
Symposium of Music Therapists‘:
―Music Therapy facilitates the creative process of moving toward wholeness in the physical,
emotional, mental, and spiritual self in areas such as: independence, freedom to change,
adaptability, balance and integration. The implementation of Music Therapy involves
interactions of the therapist, client and music. These interactions initiate and sustain musical
and non-musical change processes which may or may not be observable. As the musical
elements of rhythm, melody and harmony are elaborated across time, the therapist and client
can develop relationships which optimise the quality of life. We believe Music Therapy
makes a unique contribution to wellness, because man‘s responsiveness to music is unique‖
(http://www.warchild.org/projects/centre/mus-ther.html). Nevertheless there are existing other
definitions of music therapy. Some examples:
World Federation of Music Therapy:
―Music Therapy is the use of music and/or its musical elements (sound, rhythm,
melody and harmony) by a qualified music therapist, with a client or group, in a process
designed to facilitate and promote communication, relationships, learning, mobilization,
expression, organization and other relevant therapeutic objectives in order to meet physical,
emotional, mental, social and cognitive needs.
Music Therapy aims to develop potentials and/or restore functions of the individual so
that he or she can achieve better intra and/or interpersonal integration and, consequently, a
better quality of life, through prevention, rehabilitation or treatment.‖
(http://www.musictherapyworld.de/modules/wfmt/w_definition.htm)
Association for Professional Music Therapists in Great Britain
"There are different approaches to the use of music in therapy. Depending on the
needs of the client and the orientation of the therapist, different aspects of the work may be
emphasized. Fundamental to all approaches, however, is the development of a relationship
between the client and therapist. Music-making forms the basis for communication in this
relationship.
As a general rule both client and therapist take an active part in the sessions by
playing, singing and listening. The therapists do not teach the client to sing or play an
instrument. Rather, clients are encouraged to use accessible percussion and other instruments
and their own voices to explore the world of sound and to create a musical language of their
own. By responding musically, the therapist is able to support and encourage this process.
The music played covers a wide range of styles in order to complement the individual
needs of each client. Much of the music is improvised, thus enhancing the individual nature of
each relationship. Through whatever form the therapy takes, the therapist aims to facilitate
positive changes in behavior and emotional well-being. He or she also aims to help the client
to develop an increased sense of self-awareness, and thereby to enhance his or her quality of
life. The process may take place in individual or group music therapy sessions."
(http://www.apmt.org/mt-whatismt.htm)
Canadian Association for Music Therapy
“Music therapy is the skillful use of music and musical elements by an accredited
music therapist to promote, maintain, and restore mental, physical, emotional, and spiritual
health. Music has nonverbal, creative, structural, and emotional qualities. These are used in
the therapeutic relationship to facilitate contact, interaction, self-awareness, learning, selfexpression, communication, and personal development.‖ (http://www.musictherapy.ca/)
Associacio Catalana de Musicoteràpia (ACMT), Spain:
―Music therapy is the scientific application of the art of music and dance for
therapeutic and preventive purposes, to improve and reestablish the mental and physical
health of the human being, through the action of the professional music therapist.
It is a profession within the health field, humanistic and creative, because it acts on the
emotions, creativity, human values, etc.
It belongs to the group of creative therapies along with dance therapy, art therapy,
poetry therapy and psychodrama.
It is neither an alternative therapy nor a complimentary therapy but rather has its own
entity.‖ (http://www.bcn.es/tjussana/acmt/i2.htm)
American Music Therapy Association:
―Music therapy is the prescribed use of music by a qualified person to effect positive
changes in the psychological, physical, cognitive, or social functioning of individuals with
health or educational problems.‖ (http://www.musictherapy.org/faqs.html)
French Association for Music Therapy
―Music therapy is "the use of sounds and music in a psychotherapeutic relation"
(http://www.geocities.com/sergiy_mtherapy2000/mt_definition.htm)
New Zealand Society for Music Education
"Music Therapy is the planned use of music to assist the healing and personal growth
of
people
with
identified
emotional,
intellectual,
physical,
or
social
needs.‖
(http://www.nzsme.org.nz/therapy.html)
Swedish Association for Music Therapy
“Music therapy is "the use of music in educational and therapeutic settings in order to
offer individuals with psychic, physical, and social handicaps possibilities to development."
http://www.geocities.com/sergiy_mtherapy2000/mt_definition.htm)
The definitions of Music Therapy all over the world (Argentina, Australia, Austria,
Belgium, Brazil, Canada, China, Chorea, Columbia, Cypress, Denmark, Finland, France,
Greece, Great Britain, Hongkong, Hungary, Ireland, Island, Israel, Italy, Japan, Mexico, New
Zealand, The Netherlands, Norway, Poland, Portugal, Puerto Rico, Scotland, Suisse, Slovenia,
Spain, South Africa, Taiwan, Turkey, Uruguay, USA) with the comparative analysis of them
can be found in the work of Maranto (1996).
Reading the different definitions it is obvious that the reason of differences between
them is not the cultural diversity of the countries but the lack of mutual consent. Each of the
definitions is acceptable in a way but the common basis is simply missing.
More definitions of therapy, research and music therapy can also be found at Solomon
et al.‘s (1982) work.
For creating an unanimous definition for music therapy we can start to think on two
different ways: 1) we may want to bind the concept to psychotherapy or 2) we can create an
independent concept.
Following the first path we can rely upon the French definition of music therapy
(―Music therapy is "the use of sounds and music in a psychotherapeutic relation‖) leaving the
rest of our work to those who are ready to define what psychotherapy is. But we have to face
with the fact that even the concept of psychotherapy is not unambiguous throughout the
world. It is hard to decide if music therapy is psychotherapy or not if we don‘t even now
exactly what psychotherapy is, since there are several definitions of psychotherapy exist all
over the world.
Some examples: „Psychotherapy is a process that focuses on a person's psyche, spirit,
soul, or mental state of being. It treats emotional, mental, and nervous problems that interfere
with that individual's relationships and life functioning.‖ (Monsler, electronic publication)
At its meeting on May 1st, 1976, the Board of Directors of Canadian Psychiatric
Association accepted in principle the following definition of psychotherapy recommended by
the Professional Standards and Practice Council of the CPA and provided by the CPA
Nucleus Committee on Psychotherapy.
―Psychotherapy is a selected form of psychiatric treatment which employs specialized
communication tecniques practised by a properly trained physician for the purpose of curing
or reducing the psychiatric disability of the patient.
In psychiatric pratice, psychotherapy is usually carried out at intervals, for a definite
time duration, most often an hour or a fraction thereof.‖ (Canadian Psychiatric Association,
electronic publication)
According to Strupp (1978) the well-accepted definition of psychotherapy today is ―an
interpersonal process designed to bring about modifications of feelings, cognitions, attitudes
and behaviour which have proved troublesome to the person seeking help from a trained
professional".
Sherwood Psychotherapy Training Institute (2002) acknowledges the following
definition, aims and objectives of psychotherapy based on the Swiss Charter for
Psychotherapy. ―Psychotherapy is concerned with the suffering human being as a whole, i.e.
his/her body, mind and soul, in the context of a concrete life situation and at a given stage in
the development of his life history and integrates its psychological methods and techniques
into a holistic therapeutic model, or plan of treatment, in the light of which the process may be
reflected continually.‖
„The definition of "psychotherapy" is "care of the soul" according to the opinion of the
Integrative Counseling Associates. (2002)
Another concept was formulated by Nagy (1997) in which "psychotherapy is
conducted by trained and qualified therapist and consists of diagnosing and treating mental
disorders. Includes using psycho1ogica1 techniques to help a client or patient to develop and
achieve goals, objectives, and strategies, which will ameliorate problems with behavior,
mood, thought processes, or psychosomatic disorders." (Nagy, 1997)
And at last but not the least the opinion of the UK Council for Psychotherapy (2000) is
that „psychotherapy is the provision by qualified practitioners of a formal and professional
relationship within which patient(s)/client(s) can profitably explore difficult, and often
painful, emotions and experiences. These may include feelings of anxiety, depression, trauma,
or perhaps the loss of meaning in one‘s life. It is a process which seeks to help the person gain
an increased capacity for choice, through which the individual becomes more autonomous and
self determined. Psychotherapy may be provided for individuals or children, couples, families
and groups.‖
Following the second path, namely creating an independent definition can give only
virtual independence from psychotherapy, since an independent definition doesn‘t mean that
music therapy had nothing to do with psychotherapy.
In my opinion music therapy is definitely a form of psychotherapy if psychotherapy
can be considered as psychiatric or psychological treatment employing special
communication techniques for the purpose of curing patients having psychological or
psychiatric problems. Since music therapy is a special communication technique, it can be
definitely considered as psychotherapy. In this case the French definition for music therapy is
very attractive to me, nevertheless better communication between music therapists (and other
psychotherapists) could make the easier to solve this problem.
How could we realize a quick and effective method for making communication better
between the members of the World of Music Therapy? One of the solutions is the use of
Internet. Internet, the ―information superhighway‖, provides many varied resources and
services all over the world. This ―new global society‖ has become an excellent place for
music therapists to find information regarding research, music, and sound recordings, and to
share information among interest groups. Communication is essential for music therapists and
the Internet can be one of the most significant communication devices available. With the
help of the Internet music therapists can communicate with each other by sending electronic
mail and exchanging ideas and information in some seconds. Since it is possible to send and
receive sounds and pictures as well as written documents, we can build an information
reservoir from which clinical methods, techniques, and suggestions are accessible. To
contribute to this effort, each music therapy school and internship training facility could make
a home page for their sites. Students then could enter the Internet to find the programs and
facilities to suit their purposes within a few minutes. In addition, building a music therapy
educational package file might be helpful for distributing information to professionals and to
the public as well (Choi, 1996).
The need of collecting knowledge about the structure and operation of the Internet
appeared as early as in 1994 in the USA. Music therapy curricula for students in our NAMTapproved programs needed to reflect new ideas and information such as these: Should music
therapy students be required to take a course in computer skills in order to be able to access
the growing body of information that will become available in the Internet system and other
specialized music therapy database computer programs? (Moreno, 1994)
Analyzing the general situation of music therapy all over the world there are three
concepts to deal with: music, therapy and music therapist.
Music Therapist
The need of clarifying the definition of music therapy is obvious. At least as important
to clarify who can be called music therapist. The answer is apparently simple: everybody who
has adequate qualification about it. Status of music therapists is also based on degrees.
Nevertheless according to my hypothesis the quality and method of training music therapists
are also different not just in each and every country but sometimes within countries as well.
The reasons why people want to become music therapists were analyzed by Clark
(1996). The main reasons were: want to help others, interested in music and combine music
and helping.
A necessary step in the development of any profession is an identification of the specific areas
of knowledge, skill, and ability required by its practitioners. Such competency requirements
are discussed by Bruscia (1986). The need of standards for improving the training of music
therapists at the entry level, as well as within the profession emerged in 1987 and in 1989
amongst the goals and objectives of the American Music Therapy Association. (Decuir, 1987;
Maranto, 1989) Such standards are only statements of minimal acceptability and only as
strong as the degree to which they are adhered. The stronger these standards, the higher the
quality of the practicing professional (Standley, 1989). The necessity of standards for music
therapy education and training is urged also by Maranto (1989).
In 1989 the National Association of Music Therapy of the United States organized a
symposium aiming at evaluating the status and future trends in music therapy education and
to make recommendations regarding the content of music therapy education al the bachelor‘s,
master‘s, and doctoral levels of training, to consider issues of quality assurance in the
education and clinical training standards, and to examine new models for music therapy
education and training (Maranto, 1989). The need of clarifying the conditions of getting
different degrees and the conditions of using such degrees are discussed by Johnson (1989).
The specific areas of training and continuing education needed by music therapists were
investigated by Maranto (1991) at the meeting of the international Society for Music in
Medicine in Rancho Mirage, CA..
The basic premises of music therapy according to Bruscia (1989) are the following.
Development of clinical skills, with studies in theoretical practices and research supporting
that goal. Crucial, however, that music therapy should develop its own doctorate which
administratively should be separated from doctoral programs in music and music education,
and independent of their goals and requirements. Also essential to recognize these diversities
in clinical practice, and design academic and field training programs accordingly. And finally,
every student has the right to learn every area and level of music therapy currently practiced,
regardless of the educator‘s or supervisor‘s philosophical orientation and clinical bias. Based
on all of the above, the author has summarized competency goals for music therapy studies at
the bachelor‘s, master‘s, and doctoral levels as well.
In the scope of a comprehensive research Jensen et al. (1990) collected information
regarding requirements in music therapy, music, natural and behavioral sciences, and general
education in colleges and universities. The analysis revealed substantial divergence between
university curricula and research findings related to competencies necessary for music therapy
practice. The literature suggests that some content areas with little direct application to music
therapy may be emphasized while others central and crucial to the practice of music therapy
may be given too little attention in the current curricula. According to the authors the latter
problem may be exacerbated by possible confusion about the respective roles and
responsibilities of clinical training directors and educators.
The system of training is also different in different countries. The United States has a
special training program where the words ―graduated‖, ―undergraduated‖ or CMT, RMT and
BC have special meanings. In the US the profession of music therapy has three entry level
designators, all of which document different sets or types standards: CMT (Certified Music
Therapist), RMT (Registered Music Therapist), and BC. The RMT/CMT labels are similar,
but each enforces a separate set of standards and neither is duplicative of the function of the
BC designation. The CMT and RMT both enforce standards of academic preparation, but
differ in specific degree requirements, including issues of faculty qualifications, curriculum
requirements, and clinical training requirements (Standley, 1989).
Petrie (1993) gives a comprehensive description about the changes made between
1976 and 1993 in the curriculum approved by the National Association for Music Therapy in
the USA. Taylor (1987) emphasizes the following recommendations regarding the educational
and certification standards. 1. Establishing separate educational, testing, and certification
requirements for competence in specialized areas of service. 2. More emphasis must be placed
on instilling in entry level practitioners an appreciation of the importance of conducting and
reporting research, plus knowledge of research terminology, procedures for research analysis,
and the applicability of research literature. 3. Efforts should be made to expand the resources
and emphasize the importance of effective communication with professionals in other
disciplines.
Ideally, a balance of theoretical and practical courses would prepare students for
existing opportunities as well as for changes in future career opportunities. As Madsen (1980)
warned in challenging the advisability of emphasizing practical courses over theoretical
courses, ―what is practical may also include the ability to change, adapt, and be creative with
one‘s total musical and therapeutic potential‖.
The role of music therapists as it was explored by Greer has four components: 1. The
use of the music setting to apply behavior analytic procedures which have been verified in
generic behavior analysis and therapy. 2. Applying procedures for modifying nonmusic
behavior with music consequences. 3. Managing procedures designed to condition music as a
generalized reinforcer for clients for whom it is not reinforcing. 4. Using procedures designed
to teach music behaviors (Greer, 1983).
Moreno et al. (1990) suggested some international tasks for the music therapists. Most
of them are still valid even nowadays. Making some minor changes of them for converting
them more international, the following are some of the challenges to consider for the future of
the profession of music therapy all over the world:
1. To translate and republish outstanding music therapy articles originally published in foreign
journals to keep the members of the World of Music Therapists informed of the newest
international developments in the field.
2. To explore the possibilities for international reciprocal credentialling and/or qualifying
exams, to allow the possibility for trained music therapists to practice in different countries.
3. To explore the possibilities of approving international internship programs by approving
qualified supervising music therapy internship directors.
4. A required course in World Music or a multicultural component in the music history
courses would prepare music therapy students to become a part of the global profession of the
future.
6. To create an international student organization of all foreign music students, and keep
contact with these graduates when they return to their homes, as prime contact persons for
future cooperative international endeavors.
7. To initiate cooperative international music therapy research projects to learn more about the
cross-cultural influence of music on behavior.
8. To develop an international music therapy resource center and library.
9. To initiate the development of an international journal of music therapy to be published in
several language editions.
10. To consider international sharing in music therapy as a microcosm of the kind of
international sharing needed for world peace. This can be an increasingly stabilizing factor in
an unstable world, and these goals are being promoted through the international organization
―Music Therapists for Peace.‖
Music
The preference of music used in music therapy are determined by different factors
―The physical properties, complexity, and referential meaning of the music stimulus, as well
as the quality of the performance through which it is heard, influence the music preference
decision. Incidental conditioning of the listener, as well as the opinions of the listener‘s peer
group and family, influence the music preference decision. Educators, authority figures, and
the media influence music preference decisions. These influences will vary in intensity and
direction at different stages of the listener‘s life.‖ (Leblanc, 1982, see Figure 2)
Figure 2: Sources of variation in music preference (Leblanc, 1982)
Although the idea is tempting but it‘s obvious that music is not a fully international
language. As Ruud (1988) claimed, ―music is a culturally derived phenomenon; it is a way of
organizing vibrations; it is coded sound. While vibrations may be universally felt,
understanding music implies knowing the codes or manner of representations prevalent in the
culture, which also means knowing the culture. This means there can be no mechanistic
translation of vibrations into preprogrammed ideas or actions. There is not a universal
program written which directs the representation of vibrations into definite mental concepts.‖
Using classical or ―light‖ music in music therapy has always been a subject of debate
between some therapists. Summer (1994) compared the use of classical music with the use of
pop music with lyrics in music therapy, claiming that pop music in contrast with classical
music is a kind of ―program‖ music, identifying a specific agenda around which the session of
music therapy revolves. Gowensmith (1994) pointed out that heavy metal music didn‘t
increase the anger levels of subjects who identified themselves as heavy metal fans. Cripe
(1986) reached statistically significant reduction in the number of motor activities with ADD
(Attention Deficit Disorder) children when used rock music during the music therapy
sessions. Giles et al. (1991) tested three styles of music for effectiveness in altering mood of
elementary school children: classical, music from Walt Disney films and electronically
generated ―new age‖ music. The authors concluded that a music program of new age or
Disney music styles could effectively promote emotional health, and classical music was the
least effective in altering mood, perhaps because it was less familiar to this age group. Of
course, music therapy works through the music therapist–patient interaction, but through
influencing the relationship between patient and therapist, recorded music may be useful
therapeutically if the therapist has strong musical preferences and conveys these to the patient.
Kahans et al. (1982) stress that to enhance the possibility of establishing musical
communication with clients from varying cultural backgrounds, the music therapist should
have a basic working knowledge of a wide variety of representative world music genres.
―Ethnic musics have a dual possibility in music therapy practice: for enhancing musical and
interpersonal communication for clients of specialized ethnic backgrounds, and for motivating
otherwise unresponsive mainstream music therapy clients into musical experiences through
the exotic appeal of unfamiliar musical styles and approaches to music making. Unfamiliar
music may also elicit relatively spontaneous musical and emotional responses not colored by
previous musical and extramusical associations.‖ It is unambiguos that music therapists,
similarly to all psychotherapists, do not treat the fundamental disease entity itself, such as
schizophrenia, learning disability, retardation, traumatic stress disorder, or personality
disorder, but the human being‘s sense of courage, esteem, ability to cope, and capacity to find
meaning in lives that have been affected by an illness or disability (Johnson, 1989). Also
important that music therapist should know not only their patients‘ preference of music but
their own preference with special regards the interrelationship of transferencecountertransference aspects of music in both members of treatment dyads or of therapists
within the goups. (Diaz, 1992)
Selection of the most appropriate music for healing purposes is an ongoing debate.
Nevertheless research on the music-assisted imagery process called Guided Imagery and
Music (GIM) found that personal music preferences were not usually applicable or healing
when used in therapeutic settings (Bonny, 1986).
Therapy
Therapy, derived from the Latin therapeuticus, means healing. In comtemporary
context, therapy refers to the systematic process (treatment) which brings about healing.
(Solomon et al., 1982). According to Wolberg (1954), psychotherapy is ―a form of treatment
for problems of an emotional nature in psychotherapeutic theory or combination of theories.
Since the music therapy profession is primarily concerned with successful treatment
outcomes, theoretical considerations or a mental plan of principles may seem of secondary
importance to the practicing music therapist. The value of theory, however, should not be
underestimated. A coherent theoretical foundation provides a plan of action and a guideline
for selection of approach. Without such a foundation, each therapeutic decision exists in
isolation, with no connection to preceding or subsequent events (Gfeller, 1987).
Wheeler (1981) analyses the different forms of psychotherapies constituting the
possible basis of music therapy, namely behavioral therapies, humanistic therapies,
psychodynamic theories and even reality theories and transactional analysis which last two
doesn‘t fit into any of the schools mentioned above. Gfeller (1987) emphasizes that no single
theory central to music therapy practice. However behavioral and psychoanalytic theories as
prominent psychological theories influencing music therapy practice. This fact is supported
also by Rugenstein (1996), claiming that western psychology grew out of two sources:
experimental science and clinical concerns. Experimental science focused on observable,
measurable behavior while ignoring the unobservable world of inner experience. This branch
of psychology became known as behaviorism. Clinical psychology was concerned with
treating pathology and focused on the subjective and unconscious. This branch of psychology
was dominated by psychoanalysis.
Carl Jung (1963 cited by Beer /1986/), in Memories, Dreams, Reflections, uses the
expression of ―personal myth‖ for the story of who he is, what is important to him, and how
he got to be that way. during therapy music can be a strong, direct medium for this expression
of personal myth. The quest to find one‘s personal myth is key to the process of the analytical
therapy. Warja (1994) considers the ―marriage‖ between analytical psychology and music
psychotherapy is a particularly successful relationship. As he claims „the writings of C. G.
Jung and his followers provide a wide theoretical understanding of human development that
includes the psychodynamic forces and events, as well as the spiritual and transpersonal
spheres. Music moves in both realms. Music is relational, bringing in early childhood
experiences towards significant objects, and music is spiritual, expressing beauty and the
voice of the divine. In order to approach and work with early archaic experiences of an
individual, one needs something in addition to the verbal language. This is where music
comes in.‖
Shakespeare paraphrased Epictetus when he wrote in Hamlet, ―There is nothing either
good or bad, but thinking makes it so‖ (Ellis, A., cited by Heller, /1987/). In other words, a
person‘s values, attitudes, convictions, and beliefs, both rational and irrational, color virtually
every situation he or she encounters. Logically, then, a person‘s relationship to music, while
experientially involved in a music-related process, provides a manifestation of these values,
attitudes, convictions, and beliefs, both rational and irrational (Bryant, 1987).
Beck (1976) described cognitive therapy as follows: In the broadest sense, cognitive
therapy consists of all the approaches to alleviate psychological stress in the medium of
correcting faulty conceptions and self-signals. The emphasis on thinking, however, should not
obscure the importance of the emotional reactions which are generally the immediate source
of stress. It simply means that we get into the person‘s emotions through his cognition. By
correcting erroneous beliefs, we can damp down or alter excessive, inappropriate emotional
reactions. Cognitive music therapy is offered for eg. by the Center For Music Therapy in
Austin, Texas (http://www.centerformusictherapy.com/services.html).
Aigen (1991) suggested that although there are important differences between
psychoanalysis and behaviorism, both of them share an overly rationalistic and reductionistic
conception of the world. Thus neither psychoanalysis nor behaviorism can address the
progressive and meaning-laden functions of participation in ritual and creative activity. Since
neither system is equipped to understand the emotional and spiritual distress caused by the
absence of participation in meaningful ritual and myth, neither system can suitably account
for the mechanisms by which music therapy addresses the human need for meaning and
connection to the life spirit. De-sacralized approaches to science, such as behaviorism and
doctrinaire psychoanalysis, are themselves symptoms, of the alienation from nature.
One of the solutions for the problem described above can be the humanistic approach.
Empathy, genuineness, and unconditional positive regard, as it was described by Carl Rogers,
(Rogers, 1961). „As people interact in a real relationship, as they are truly understood, as they
are wholly accepted, they will begin to realize their individual, truer selves. The clients will
recognize the deep sonority of their feelings, their ability to truly experience their
contrapuntal world, and their ability to trust their own inner music and to dance to it‖
(Goldstein 1989). Asmus (1981) offers a model illustrating the client-centered approach of
therapeutic intervention:
Figure 3: The client-centered model of therapeutic intervention (Asmus, 1981)
Following psychoanalysis, behaviorism and humanistic approaches, the ―fourth force‖
of psychology became the transpersonal theory. Transpersonal psychology is concerned
primarily with those aspects of human experience and behavior that lie beyond the personal,
interpersonal, and social aspects studied in other psychological schools. Often influenced by
the recent influx of Eastern psychologies into the West, transpersonal psychology seeks to
resolve what it considers the disproportionate attention given to man‘s psychological
afflictions at the expense of his greatest potentialities. It acknowledges the existence of the
spiritual dimension and its impact on the individual psyche. Music provides us with direct,
non-verbal experiences and facilitates the movement between different states of
consciousness. As such, music can function as a vehicle to connect us with that which is
greater than ourselves, and that which is the essence of the transpersonal approach to
psychology. Music is a natural medium for transcending boundaries, and, as such, maybe one
of the most powerful tools in transpersonal psychology. (Rugenstein, 1996)
Both in humanistic and transpersonal theories the concept of holism plays an
important role. Nevertheless while in humanistic theories the ―wholeness‖ means mostly the
human being itself, in transpersonal theories means the human being with the universe.
In the field of holistic medicine, the person is seen as a whole human being, and
therefore the frame of reference is not only physiological but also emotional, mental and
spiritual. The music therapy process can also be seen as a whole system that includes three
main forces: a therapist, a client and music (Amir, 1996).
―Music is the expressive connective tissue guiding us into wholeness‖ – said Kenny
(1985). Bonny (1986) claims that as medicine moves toward holistic approaches that integrate
body, mind and emotion, it becomes more like music, which has always concerned itself with
a person‘s total beingness.
In the opinion of Aigen (1993) the type of clinical practice is most analogous to
qualitative research is one that incorporates aspects of client-centered, humanistic, and
transpersonal perspectives and, in fact, overlaps all of these areas.
Culture and multiculture
In 1989 music therapists and physicians were asked by Maranto (1991) to respond to
four questions concerning the status of future of music and medicine. The questions were:
What are the specific medical areas where music may assume a significant role in the future?
What are the deficiencies in the research base in music and medicine? What are the specific
areas of training and continuing education needed by music therapists and medical personnel
to meet the demands of emerging areas of research and practices? In what specific ways may
music therapists and medical personnel interface in these areas both clinically and through
information management? Written responses, summaries of discussion and recommendations
presented in the article are not just covering a wide area of music therapy but also describe
directions toward the future.
Since the cultural diversity is increasing all over the world, it is essential that music
therapists should be trained to understand the issues involved in working with clients from
different ethnic and cultural backgrounds. Although some people think that people are
basically the same, and that the best way to effectively help someone is to be culturally,
ethnically, and racially ―blind‖. In other words, one should assume that the same techniques
and approaches used with one culture will be applicable to people from all cultures. But this is
a misunderstanding. Increasing music therapy students‘ awareness of variation in behaviors,
attitudes, and value systems among different cultural groups, however, is only one purpose of
multicultural education. (Toppozada, 1995)
Music therapy and multiculturalism is an issue deserving more attention. As
international exchange in music therapy begins to expand, it dramatizes the growing need for
a curricular emphasis in a variety of world musics. Of course, even within such a culturally
diverse country as the USA, music therapists routinely work with clients from many different
ethnic backgrounds; and, therefore, need to be grounded in the appropriate ethnic musics in
order to enhance the possibilities of effective musical communication with these clients.
(Moreno, 1992)
Moreno (1992) emphasizes the importance for American music therapists to be aware
of the differences in theoretical emphases, techniques and approaches to music therapy
training in other counties and need for sensitivity to other aspects of health care delivery
expectations. (Moreno, 1992, 1996) According to the data revealed by him, in 1996, music
therapy courses were offered in 27 countries and the delegation of 30 countries participated
on the World Congress of Music Therapy in 1993. He also suggested to take the music
therapy students a course in computer skills, and to take a course in world music or
ethnomusicology to help familiarize them with the myriad of musical languages that they will
encounter as the international music therapists of the future. As an eventual outgrowth of this,
the students of music therapy could be encouraged to complete their internships abroad to
better prepare them as global music therapists (Moreno, 1994). Along the lines of
international sharing, Moreno has proposed the initiation of an international journal of music
therapy under the auspices of the World Federation of Music Therapy. A formal proposal for
this publication was presented to the Council of the World Federation at their meeting in
Cambridge, England, in April, 1992 (Moreno, 1993).
Because NAMT of the USA is interested in expanding its membership in foreign
countries, the International Relations Committee was charged in 1997 to: (a) identify and
learn about the characteristics of international students presently studying in NAMT-approved
academic programs in the United States and (b) determine how NAMT can become more
attractive to gain their membership (Brotons et al., 1997).
MusicMedicine
There are several papers and books published regarding the close connection between
music and healing. According to Sacks (2002) almost universal responsiveness to music is an
essential part of our neural nature.
Decker-Voigt (2001) outlines the background of music therapy as follows, indicating
that medicine is one of the four important backgrounds of music therapy:
Medicine
Humanistic
psychology
Music Therapy
Behaviorism
Psychoanalysis
Figure 4: Backgrounds of present Musictherapy directions (Decker-Voigt, 2001)
Nowadays music therapy considered no longer in its original fields (psychosomatics,
psychiatry), but more and more in internal medicine and in almost all rehabilitation centers.
(Decker-Voigt, 1997)
The American Music Therapy Association summarizes the medical application of
music therapy as follows: „Music therapy can be used to address patient needs related to
respiration, chronic pain, physical rehabilitation, diabetes, headaches, cardiac conditions,
surgery, and obstetrics, among others. Research results and clinical experiences attest to the
viability of music therapy even in those patients resistant to other treatment approaches.
Music is a form of sensory stimulation, which provokes responses due to the familiarity,
predictability, and feelings of security associated with it.‖ (AMTA, 1999)
According to Spintge (2000) ―considering the 50 years of research and application of
Music Therapy we now have solid evidence that music has reproducable effects and valuable
preventive, therapeutic and rehabilitative properties. We propose to define the therapeutic use
of Music in Medicine as MusicMedicine (one word, 2 capital "M"):
MusicMedicine means the scientific evaluation, as well as the practical application of
musical stimuli in prevention, therapy, and rehabilitation, in order to prevent disability or
illness, to complement usual medical treatment, or to facilitate rehabilitation, always
considering the particular disability or illness, medication and procedures involved in each
individual.‖
Music therapists use music on the field of medical care all over the world.
Nevertheless teaching the subject of MusicMedicine is rather rare. To teach students of music
therapy the basics of MusicMedicine would be very important for several reasons, for eg.: 1)
they could learn general application of music on the field of healthcare together with its
scientific establishment; 2) they could learn how to work in team with physicians.
Music Therapy in Hungary
The history of Hungarian music therapy is thoroughly discussed by Mrs. Urbán and
Konta (1993). According to the available data from its early history, the first application of
music therapy was with emotionally disturbed children receiving psychosomatic therapies via
psychiatric/sociotherapeutic methods. Even from its earliest uses, the significance of music as
a therapeutic tool was recognized in 1875. Experiences with music therapy were reported in
various publications, writings and lectures; thus experts from other fields were introduced to
various methods, and a definition of music therapy ensued.
These first attempts to use music therapy occurred in special institutes and psychiatric
facilities, but were isolated from each-other; psychiatric conferences provided a venue for the
first music therapy lectures.
The work and theories of Hungary‘s famous composers, Béla Bartók and Zoltán
Kodály, have deeply influenced the understanding of music therapy. Kodály recognized the
aesthetic, rational and moral values of folk-music in education Both he and Bartók had similar
goals regarding folk music: 1) to scientifically organize collected folk-music material, 2) to
include elements of folk music in their compositions and 3) to develop a form of music
education based on folk music material.
Some important events of the latest history of Hungarian music therapy:
 1980, Visegrád. The theory of music therapy was discussed by physicians,
psychologists and music teachers
 1983, Tata. A scientific conference was held which included striking live
demonstration of music therapy.
 1984, Intaháza. The first ―Weekend for Music Therapy Practice‖ was held at the
Psychiatric Rehabilitation.
 1985, Doba. Another workshop was organized by Árpád Bálint at the Sociotherapy
Institute.
 1988, Budapest. The First National Music Therapy Conference.
 1989, Budapest. The Second National Music Therapy Conference, titled ―Methods in
Music Therapy‖.
 1990, Pécs. The Third National Music Therapy Conference, titled ―Theories and
Methods in Music Therapy‖.
 1992, Budapest. The Fourth National Music Therapy Conference, titled ―Effects of
Music Therapy‖.
 1993, Budapest. The Fifth National Music Therapy Conference dealing with music
therapy training problems.
Later on music therapy became more and more integrated in the annual conferences of
psychology. Three important centers of music therapy developed on different parts of the
country, namely in Budapest in Pécs and in Debrecen and nowadays every center would like
to have its own accredited music therapy training. Unfortunately the communication between
the centers is interrupted time-to-time. The problem of mutual communication is one of the
biggest problems of the Hungarian development of music therapy.
I asked information about the present situation from all of the centers (from Budapest,
Pécs and Debrecen) and got the following reports.
From Pécs, Dr. Attila Sasvári, psychologist and teacher of music, head of the Pécs
Conservatory shared his thoughts and opinion as follows: ―In Hungary application of music in
prevention, therapy and rehabilitation became important in the last few decades. The
Hungarian praxis was characterized by relatively late start and moderate degree of theoretical
research and conceptions comparing to the European development. We should mention
several people who played a pioneer role in music therapy, but from them I would like to
emphasize the name and achievements of Dr. Ildikó Konta, clinical psychologist and Dr.
László Vértes, geriatric physician. They displayed significant founding, organizing and
teaching activity in the framework of Music Therapy Section of Hungarian Psychiatric
Association.
From the beginning of the eighties Pécs also joined into the programs of art and music
therapy. The professional connection between the Psychiatric Clinic of the University of Arts
and Sciences of Pécs and the Music Teachers‘ Training Institute of ―Liszt Ferenc‖ College of
Music (Conservatory) of Pécs became stronger and stronger. Psychotherapeutic use of music
was an everyday practice on the Clinics even at that time. For the initiation of Attila Sasvári,
psychologist and teacher of music, director of Music Teachers‘ Training College and with the
permission and support of Ministry of Culture the first Hungarian professional training of
music therapy started in 1992. The training was 6 semesters long and gave a ―Musical Mental
Hygienic and Therapist‖ certificate to the students.
The training was followed by another course in 1995, thus more than 20 music therapists
could get a degree on the two courses.
Lecturers of the training were teachers of the local Medical University and College of
Music and visiting professors from Hungary and abroad (C.W. Schroeder, N. Búzási, dr. Jádi,
F. Hegi etc.)
We built a professional contact with the Special College of Heidelberg.
Besides the factual knowledge and praxis of music therapy the curriculum of the training
contained theoretical and practical topics of psychology, psychiatry, psychopathology,
psychotherapy, mentalhygiene and art therapies. At the end of the studies the students had to
prepare a dissertation and they had to take theoretical and practical exams as well.
At that time the ―Albert Schweitzer‖ Music Therapy Association was founded helping the
continuous work of the training.
In the years passed several successful attempts were made aiming at professional
collaboration of music therapists, organizing conferences and exchange of expertise.
In Hungary music therapy still not an independent, acknowledged therapy having specific
methods, but in our opinion through its proper application it can be a very successful and
effective form of therapy. According to our assessment the Hungarian institutes of therapy
and rehabilitation would use such, specialized experts. There is a need for special preliminary
training and special knowledge for practicing music therapy.
In the near future, based upon the positive experiences of the music therapy training, we
would like to start an integrated art therapy training on the University of Arts and Sciences in
Pécs. Within the frameworks of this training we would like to train experts in fine arts,
movement therapy and dance therapy besides music therapy. The request for foundation of an
―Art Therapy Faculty‖ is accepted and supported by the Ministry of Education. The
University will send the request for establishment to the Faculty to the Hungarian
Accreditation Committee after making the necessary corrections. We plan to start the Faculty
in 2003.‖
At the end of 2003 the work of the Faculty hasn‘t started yet but there are high hopes for
starting it in 2004.
From Debrecen, Dóra Varvasovszky, psychologist, music therapist, professor of ―Liszt
Ferenc‖ Conservatory of Debrecen gave the following information to my disposal. ―We made
a curriculum for a 5 year long basic training of university degree according to the curriculum
of the Institute of Music and Theatre of Hamburg. The subjects of psychology were prepared
by the teachers of the Institute of Psychology of Debrecen University, the subjects of music
were draw up in the framework of the Conservatory and the medical subjects were worked out
by the experts of Medical Center of Debrecen University.
We plan to teach other subjects as well such as Symbols, Legal Knowledge, Computer
Science and Acoustics. The subject of Social Pedagogy will be taught by teachers of Training
College for Nursery School Teachers in Hajdúböszörmény. We plan to teach psychology of
the handicapped as well. That subject was worked out by a professor in Budapest.
From my own area of work I would like to stress the importance of Musical Play Therapy
which was considered to be excellent by important experts of music therapy.
We built some places of practical exercises into the credit system, namely psychiatry,
kindergarten, school, youth programs of mentalhygiene and internal medical ward.
For composing the requirements of the entrance examination we would like to apply the
knowledge we learnt from Professor Dr. Hans-Helmut Decker-Voigt.
This program is approved only by the conservatory at this moment. Later on we would
like to have the approval of Debrecen University and then we would like to make it accredited
by the National Authorities.‖
The report made by Mrs. Urbán Katalin Varga, teacher of the handicapped, music
therapist, president of the Hungarian Music Therapy Association, professor of ―Bárczy
Gusztáv‖ Training College for Teachers of Handicapped Children reflects truly the recent past
Hungarian situation of music therapy.
―There are 16 professional music therapists in Hungary. All of them graduated in Pécs on
the common training organized by the Conservatory of Pécs and the Psychiatric Clinic of
Medical University of Pécs. Not everyone of them work as an active music therapist. Besides
them about 10 people people got a declaration of acknowledgement from the Hungarian
Music Therapy Association, justifying that they were pioneers espousing the case of music
therapy in Hungary. For this reason the Association granted them the title of music therapists.
At present music therapy is not an officially acknowledged profession in Hungary. There
is no profession titled ―music therapist‖ in the register of professions. I have been fighting for
two years for accreditation of music therapy, correspond continuously with the National
Health Service, the Ministry of Health, the Office of Statistics (they could give an income tax
number) and the Tax Office. At this moment they don‘t know who of them could be
responsible for the training, for its content and who can officially decide where music
therapists can work. Recently I have got a letter from the Tax Office stating that the training
held in Pécs was legal but giving degree about it was illegal.
Some weeks ago Dr. Anna Fekete, PhD and I visited one of the most important Hungarian
psychiatrists trying to convince him about the importance of music therapy. He claimed that
music therapy can be never psychotherapy in Hungary. I‘m afraid that most of the leader
psychologists, psychotherapists, psychiatrists of Hungary will never accept our training.
Results:
 Notoriety of Music Therapy is growing. We get more and more requests for holding
courses and lectures. We have already two publications of professional materials.
 We built international connections with the International Music Therapy Association
and with the European Association for Music Therapy. Unfortunately I can‘t find any
young people who could shoulder the work of keeping contact with such organizations
since it demands time and a lot of money (correspondence, telephone, traveling etc.)
 We tray to get information from foreign appers and books of music therapy but it takes
also much money (translating, publishing etc.)
 We worked a new postgraduate training out.
Problems:
 Although people show an interest in music therapy, the activity of such people is very
low (they just call me inquiring about the time and date of the next program but don‘t
help me to organize, although I also work for free, moreover I pay for this work for
others).
 Difficulties of making and keeping contacts. Communication problems. Difficulties in
flow of information (these problems are not the question of money but activity).
 Bureaucratic administration of official organs, obtuseness and prejudices of officials.‖
As it can be seen from the report of Mrs. Urbán Katalin Varga there are a lot of work to do
to change the view of the official and other people regarding the topic of music therapy.
As for my personal story I wanted to make a PhD from music therapy in 1995 on the
Psychology Faculty of ―Kossuth Lajos‖ University of Arts and Sciences in Debrecen, but I
was told on the entrance examination that music therapy is not a science but a kind of art, so it
is not possible to have a PhD degree from it. Some years later Professor Dr. Hans-Helmut
Decker-Voigt offered me the possibility of making my PhD work in Hamburg.
In
1999
Professor
Dr.
Hans-Helmut
Decker-Voigt
started
a
project
titled
―Studiengangsgründungen Musiktherapie/Musikmedizin‖ in Hungary. He successfully
contacted with the experts of music therapy in Debrecen and Budapest and organized a team
have been working together up to now. During our regular meetings we have been working on
stabilizing the present and establishing the future of music therapy in Hungary. As a result of
the work of Prof. Dr. Hans-Helmut Decker-Voigt and our mutual cooperation the dream of
accreditation of music therapy education in Hungary became an accessible goal. Finally we
have the first PhD doctor of music therapy, namely Dr. Anna Fekete, PhD who graduated in
the Institute for Music and Theater in Hamburg in 2001.
Personal reasons for writing this dissertation
Most of the researchers of music therapy consider as if were a science. But is music
therapy really a science? If we don‘t follow ostrich policy, we have to face the fact, namely
music therapy, in spite of its numerous published and verified results, is still not considered as
a ―real‖ science everywhere in the world.
When somebody concentrates only his or hers branch of science, he or she can easily
disregard the reactions of prominent representatives of other sciences of vital importance such
as medical science or psychology to the existence and results of music therapy. The results of
several surveys justify that music therapy has a marginal position among the sciences.
Oppenheim (1987) investigated 500 randomly selected music therapists and correlated the
data accepted with degrees of occupational stress or burnout. Many respondents included
critical comments concerning their work as music therapists. The most prevalent criticisms
focused on insufficient pay, lack of respect and support from administrators, and having to
perform activities outside their field.
The question is if a science can exist if its boundaries are not unambiguous? For
example the ―sometimes it can be considered as a psychotherapy but other times not‖ type of
formulation obscures or sweeps the boundaries of music therapy away. In such a case music
therapist have no right to protest if their profession is not considered of equal rank by
representatives of other sciences and they are squeezed into the category of ―just a kind of
artist‖. Although music therapy has a history of some thousand years, it is still not considered
as a science, since it can‘t be always characterized by so-called ―exact‖, reproducible or
quantitative attributes.
Is it possible that music therapy and exact sciences act like oil and water? Is it really
necessary for music therapy to ―climb‖ onto the level where exact sciences give it the ―big
favour‖ of equality?
First part of history of music therapy was spontaneous. At that time music was applied
instinctly for healing people. Nowadays we live the era of transition from instinctive to
scientific application, namely we endeavor to explain methods proven useful in practice,
explore their mode of effectiveness and to give reasons for considering music therapy as a
science.
The question is: what do we scarify on the altar of science? If we scarify every single
objects what can not be quantified then similarly to Doctor Faustus we could give our soul in
exchange, since the category of ―soul‖ can not be examined by objective methods and can not
be quantified either. The meaning of the word ―Lucipher‖ is ―somebody brings light‖.
Whether the ―light‖ of the exact sciences is similar to such a light? (Feldmár, 1992)
Would it be possible to use hermeneutic approach instead of a scientific? The
differences between scientific and hermeneutic approaches are summarized on the table
below:
Science and Hermeneutics
Science
Hermeneutics
 ―If…, then…‖ way of thinking
 ―It happened, because…‖ way of
thinking
 control, master project
 striving to understanding
 quantification, measurability
 qualification
 priority of method
 dialogue
 repeatability
 idiosyncrasy
 reductionism
 striving to totality
 universality
 uniqueness
 prediction
 technological approach
Table 1: Science and Hermeneutics
In the course of ―exact‖ experiments we separate a part of the reality from the ―Big
Wholeness‖. We try to keep this small part under control hoping that the knowledge we get
from studying it is valid for the whole system. Nevertheless such conclusions are always
hypothetic ones and thus the science calling itself ―exact‖ is also hermeneutic in a latent way.
We learn about the average at school but we meet always with the personal and subjective
reality.
If we want to make a controllable experiment, we have to make the experimenter and
also the subject of the experiment replaceable by other experimenters or subjects respectively.
But in this case we talk about human beings and humans can not be exchanged to other
humans without further ado, since humans are not just objects but subjects. They have
different cultural religious, linguistic and family traditions and backgrounds. If we want to
make them experimentable and thus replaceable, they cease to be humans. (Marquard, 2001)
By spread of globalization humans are tried to make a measurable, quantifiable object of
expectable behavior and uniformity. It leads to the victory of sameness and boredom above
the humanity. It is not a pure coincidence that in return the interests towards oriental culture
and ―miracles‖ are higher and higher nowadays. (See the Harry Potter phenomenon.)
Thus the question in a broader sense should not be if music therapy should join the
queue of exact sciences, but how could hermeneutic sciences heal the world tried to make
uniform and inhuman (non-individual and expectable) by exact sciences.
The sad thing is that the dispute between exact sciences and hermeneutics is settled by
existential reasons. Support from social security and most of the money intended for research
work is got by marketable, quantifiable ―products‖. The well-paid and socially acknowledged
jobs are close connection with the results of exact sciences. From this point of view the
situation of music therapy were safer if it could prove its reason for the existence by exact
methods and data. Although there are aspiring efforts and results supporting such endeavors
(for example by application of music therapy in hospitals a large amount of expenses can be
spared) this battle is rather hard to win especially in countries where music therapy is still in
its infancy (like in Hungary).
For helping music therapy to be accepted all over the world we need a kind of
international co-operation and collaboration. It raises the claim of clarifying the essential
elements, modes of action, boundaries, resources, tools and possibilities of music therapy on
an international basis by considering and respecting the national and cultural differences
between the countries.
Accordingly by maintaining research and practical side assuring continuous
development of music therapy there is an urgent need of looking out in order to establish the
level of international acceptance, theory and practice of it and to see what our duties are for
practicing similar politics in order to reach our common goals. Training of music therapists
has an undoubtedly enormous role in this process. Assuring quality and a kind of similarity of
education make possible for music therapy of having basically similar philosophy and system
of concepts in different countries all over the world. This is necessary for making the
expression of ―music therapy‖ at least as familiar, popular and concrete as the expressions of
―medical science‖ or ―psychology‖ is.
One of the most important tools for international communication is appearing on the
World Wide Web. The quality of a home page of an organization is probably more important
as the quality of scientific publications. From the point of view of co-operation and exchange
of views such a virtual space is much more ―real‖ than the reality of 3 dimensions. Those
organizations who are not reachable through Internet become isolated.
By the use of Internet communication can be realized almost immediately and
informations can be shared immediately. From psychoanalytical point of view the expressions
of ―I am not capable‖ or ―I don‘t want‖ are almost equal. So making a home page having
essential information on it is more and more a basic principle of co-operation.
Although technical tools can play important role in the work of music therapists
(Decker-Voigt, 1996) we shouldn‘t disregard two facts: 1) Computer science is a relatively
new discipline, and the development of the Internet started in the USA, so the rest of the
world is still at the beginning of creating computer-based materials, for eg. home pages; 2)
Music therapists prefer personal, face-to face communication. Most of them consider
computers ―inhuman‖ or at least strange from human nature. It can be also a reason why I
could find only a few home pages giving comprehensive information about music therapy
training.
Hypotheses:
I investigated two aspects of the ―common denominator‖ of music therapy in more
detailed form:
1. Application of different theoretical backgrounds of music therapy (with special
regard to depth-psychological, phenomenological /namely psychoanalytic, transpersonal and
humanistic/ schools versus behaviorism) all over the world. According to my first hypothesis
music therapy based on behaviorist approach is much more general and popular in the United
States than in any other countries in the world. In exchange psychoanalytical approaches are
not so popular in the USA.
According to my supposition the culture of the United States is based more on
pragmatism and concentrates on making immediate (or almost immediate) benefit. It focuses
on the effect of behavior much more than on the inner reasons of behavior. Behaviorism
doesn‘t analyze the inner motivations of a kind of behavior since such contents are not
measurable, but the extent of change of behavior can be measured. Behaviorism makes efforts
to influence the operation of humans in a society. The depth-psychological, phenomenological
attitudes search much more for deeper intentions, motivations and understanding of behavior.
It reflects also in the differences between cultures. The culture of the United States can
be characterized by finding quick and effective solutions for problems (fast food restaurants,
short dynamic therapies). The main differences between behaviorist and depth-psychological,
phenomenological cultures can be caught in the main differences between the western and
oriental ways of thinking (Maranto, 1991; Gibson, 1987). In the culture of the United States
reaching success in short time is more characteristic. It roots deeply in the original culture of
the country. The myth of ―lonely hero‖, reaching the ―American dream‖, getting to the top by
own efforts are characteristic features of the society of the United States.
Amongst the depth-psychological, phenomenological approaches psychoanalysis for
eg. means a long term work having sometimes no visible results for a long time, since the
inner changes caused by the analytic work don‘t always appear as a concrete change in
behavior.
Globalization is a characteristic tendency of the culture of the United States. By
expanding globalization crowd gain and individual people loose more and more grounds.
While depth-psychological, phenomenological approaches concentrate on individual,
behaviorism, although it deals also with individual people but much more from the point of
view of social benefit.
Depth-psychological, phenomenological schools have been separated from the official
university structure even at the time of their origin. They built thire doctrines outside of the
official theories. Thus they separated themselves from the ruling official academic authorities,
methods, scale of values, corporations and methods of decision making even at the beginning
of their culture. Psychoanalysis started to deal with things like subconsciousness being
inconceivable for exact sciences and thus built its own ―sect‖ within the ―church‖ of science.
Depth-psychological, phenomenological schools confused the exact sciences since they work
without exact reasons, relying on hermeneutic theories, such as more and more healing
methods do nowadays (acupuncture, acupressure, karma-healing etc.).
While behaviorism strives to reach safety and unanimity, depth-psychological,
phenomenological approaches let multiple interpretations possible. Thus the characteristic
expression of ―or‖ of the western culture is opposed to the typical expression of ―too‖ of the
oriental culture. It is similar to the opposition of a chessboard to a Yin-Jang symbol. The
squares of a chessboard are black or white. The Yin-Jang symbol let the different elements
possible to flow into each-other if one of them starts to prevail over the other. Nevertheless
both of the interpretations symbolize a way of creating harmony. Instead of endeavor to
unanimity, depth-psychological, phenomenological schools let themselves the possibility of
different interpretations for a phenomenon. The ―official science‖ nevertheless prefers
safeness, unanimity, quick and unambiguous solutions in the western world.
During the ‗90s psychoanalysis was attacked more and more by the opposition of
Freudism. Freud was called charlatan and swindler. His doctrines wanted to be harassed out
of the western way of thinking, just like if psychoanalysis were a person suitable for emotion
transference. (Bánfalvi, 2002)
Until the spreading of behaviorism, psychoanalysis was rather popular in the United
States; moreover it became one of the most influential theories. Thus it became suitable for
being blamed for the troubles and bad general feeling of the society. (Goldberg, 1998)
According to another explanation of dethronement of psychoanalysis the era of monolithic
and totalitarian theories has finished, and thus people are less susceptible to see the reality
through the eyes of a genius as Freud was. (Berman, 1997) Thus it is not beneficial for a
modern theory if it wins a total victory, moreover if this victory gains an institutional form.
(Bánfalvi, 2002)
Berstein puts the question if we can give any reason for not considering the theory of
psychoanalysis and Freudian interpretations as the alchemy of the 20th century. (Berstein,
1988)
2. According to my second hypothesis considering music therapy as psychotherapy is
not unambiguous. It can not be since there is no common concept for psychotherapy itself. If
music therapy was considered psychotherapy unanimously, probably the ruling ―official‖
sciences could accept it in larger extent. Nevertheless it would cause another problem, namely
if music therapy is psychotherapy then music therapists should be psychotherapists. It would
have serious consequences for education of music therapy. Thus training of music therapists
could be incorporated in the training of psychotherapists. If music therapy is sometimes called
psychotherapy and sometimes not then the border line between the two kinds of application is
not clear. According to my hypothesis the judgment of music therapy is not unanimous
because of all of such reasons.
Besides the two hypotheses I was asked by the Supervisor Committee of the project
―Studiengangsgründungen
Musiktherapie/Musikmedizin‖
to
investigate
where
MusicMedicine and Psychodynamic Movement are included in the curriculi of the institutes
giving information, since such subjects are not typical although very important from the point
of view of music therapy education.
Method:
I made a questionnaire survey aiming at institutes of higher education teaching
music therapy. The representatives of the institutes were asked to reply to 12 questions
regarding the education of music therapy. (See Attachment 1) I translated the
questionnaire to the native language of the countries using the possibility of
http://www.freetranslations.com of the internet.
In the course of compiling the questionnaire I had to choose from the following
interview types: general interview, aimed interview and deep interview. My aims were
the following: 1) making possible the quick and correct responses, 2) overcoming the
difficulties originating from using different languages 3) making the questionnaire as
clearly arranged as it is possible and 4) getting correct data easy to understand for
everyone and can be processed easily. Since my goal was giving information to
everyone who is interested in the nature and main characteristic features of institutes
having music therapy degree programs, the proper type of interview was using aimed
questions.
The next step was to decide what type of questions I should use. According to
Bloom‘s taxonomy (Bloom, 1956)
1[1]
there are ―lower level‖ and ―higher level‖
questions. Lower level questions use the following stem words: ―What?‖ ―List‖,
―Describe‖, ―Summarize‖ etc.. Higher-level questions are those requiring complex
application (e.g., analysis, synthesis, and evaluation skills) and use stem expressions
like ―What judgments can you make about ...?‖, ―How does the data support ...?‖,
„What predictions can you make based upon the data?‖ etc. For making the
questionnaire as simple and understandable as possible I used those so-called „lower
level‖ type questions. (Using such types of questions doesn‘t mean the
underestimation of the mental capacity of the repliers of course. I used such questions
just because I wanted to help them to give short and clear replies.)
For the same reason I used mostly closed questions (in which there are a limited
number of possible answers) instead of using open ones.
1[1]
Benjamin Bloom (ed)., Taxonomy of Educational Objectives: Handbook I Cognitive Domain (New York:
David McKay Co., 1956
According to the classification of Prof. Dr. Hans-Helmut Decker-Voigt there
are three types of questions, namely 1) yes/no questions, 2) delta questions
(concerning divergent thinking) and 3) focusing questions (concerning convergent
thinking). (Decker-Voigt, verbal statement) In my questionnaire I used yes/mo
questions predominantly. Although there were some questions which can‘t be
answered by simple ―yes‖ or ―no‖, the possibilities of replies were limited to specific
answers or simple data.
First part of my preparation was searching for addresses of institutes having
music therapy degree programs. I used the possibilities of Internet by searching with
several search engines (Altavista, Google, Copernic 2000), using key words and
expressions regarding music therapy and by asking for information from
representatives of international music therapy organizations by e-mail or by fax. I used
also the book of Directory of Music Therapy Training Courses World-Wide, 1996.
I could collect 143 addresses from all over the world. Among them 130 are titled to
issue degrees. The international distribution of the institutes having music therapy degree
programs are:
Country
Number of Institutes
Argentina
3
Australia
4
Austria
1
Belgium
1
Brazil
6
Canada
3
China
1
Denmark
1
Finland
2
France
6
Germany
9
Greece
1
Israel
2
Italy
4
Japan
1
The Netherlands
3
New Zealand
1
Norway
2
Poland
1
Portugal
1
Spain
2
Switzerland
1
United Kingdom
5
United States
69
Total
130
Table 2: Number of institutes per countries having music therapy degree programs
From the 130 institutes I could find 107 which had e-mail addresses. I sent an e-mail
to every of them containing a letter of introduction describing the aim of the survey and the
questionnaire.
Finally I got 67 e-mails suitable for processing. I considered every reply suitable for
processing which contained at least two concrete replies to the questionnaire. (See Table 3 for
the number of institutes per countries sending replies suitable for processing)
Country
Number of Institutes
Argentina
1
Australia
3
Canada
1
Denmark
1
Finland
1
France
1
Germany
5
Greece
1
Israel
2
Italy
1
The Netherlands
3
Norway
1
Spain
2
United Kingdom
1
United States
43
Total
67
Table 3: Number of institutes per countries sending replies suitable for processing
Results:
Tables of Replies
ARGENTINA
Institute
1) Universidad Abierta Interamericana,
Rosario
Argentina
Contact
Gustavo Espada
Person
E-mail
Gustavo.Espada@Vaneduc.edu.ar
1
Yes
2
No
2.a.
3
10 semesters
4
www.vaneduc.edu/uai.psicologia.musicoterapia
5
60-40 %
6
Yes, we focus mainly on Mental health, Common Health and special Education.
7
Aesthetics theory in Music Therapy,
Social Psychology,
Psychoanalytic,
Humanistic.
8
Yes
9
License in Music Therapy
10
We work playing music (Free Improvisation) and any kind of music, as the
clients/patients needs or ask
11
No
12
Yes
AUSTRALIA
Institute
2) National Education Committee of the Australian Music Therapy
Association,
Australia
Contact
Katrina Skewes
Person
E-mail
k.skewes@pgrad.unimelb.edu.au
1
Yes. Students graduate with either an undergraduate Bachelor degree or a
Graduate Diploma.
2
No. It is possible to do the training at the University of Queensland and
University of Melbourne as an Undergraduate degree. All courses do offer
Graduate Diplomas however, which means postgraduate training is also available.
2.a.
Entry to postgraduate courses is available to candidates who have tertiary
qualifications in music or in a field related to music therapy. In the case of places
being available to people whose background is an area related to music therapy,
each University asseses the appropriateness of the prospective student based on
music skills and a displayed ability to be empathic and respectful to other people.
3
Undergraduate is 8 semesters. Postgraduate is generally 4 semesters.
4
All courses must teach material that fulfills the competencies outlined by the
Australian Music Therapy Association. There are five categories that must be
taught - music skills, psychosocial knowledge, clincial knowledge, music
therapy knowledge and music therapy skills. For more specific details please
contact:
Assoc Prof Dr. Denise Grocke - Univeristy of Melbourne d.erdonmez@music.unimelb.edu.au
Susan Coull - University of Queensland - scoull@mailbox.uq.edu.au
Dianne Langan - UTS - dianne.langan@uts.edu.au
Robin Howat - University of Western Sydney Nepean - RbnHow@aol.com
5
Clinical Placement is approximately 1/3, Theory of music therapy practice 1/3,
and additional theory and research skills 1/3
6
No, we provide generic training with the exception of the Nordoff-Robbins
course in Sydney, although it also offers more of a range than NR training in
other parts of the world.
Clinicians work in a range of fields from special education to geriatrics to
hospitals and rehabilitation, to palliative care to adult disability. There is some
work in psychiatry and adolescent health also.
7
Humanistic
8
Yes
9
Bachelor degree or a Graduate Diploma
10
We use all types of music, both live and pre-recorded, in response to the needs
of our clients.
11
No
12
Yes, foreign students do study at our courses, particularly Asian students who
often come to Australia for university education.
Institute
3) The University of Melbourne, Victoria, Australia
Contact
Denise Erdonmez Grocke
Person
E-mail
d.grocke@unimelb.edu.au
1
We have two courses in music therapy: a 4-year undergraduate degree course in
which students specialise in music therapy in years 3 and 4.
We also have a Graduate Diploma course over 2 years. The music therapy class
comprises BOTH the undergraduate degree students and the Grad Dip students
together.
We also offer a Master's degree over 1.5 years full time, or 3 years parttime, which
is a research degree. Students must have completed either the undergraduate degree
in music therapy, or the Grad Dip in Music Therapy before starting a Master's by
research in Music Therapy.
We also offer a PhD in Music Therapy over 3.5 years full time, or 7 years parttime.
2
Yes. The students coming in to the Graduate Diploma are required to have an
undergraduate degree, preferably in Music. If their undergraduate degree is in a
field allied to music therapy, then they must demonstrate a high level of music
skill.
2.a.
We accept a Bachelor of Music, Bachelor of Music Education, or Bachelor degree
in an allied health field-e.g. psychology, social work, occupational therapy, special
teacher, education.
3
Four semesters (2 years)
4
www.music.unimelb.edu.au
The undergraduate degree is under "Undergraduate", and the Grad Dip is under
"Graduate
The undergraduate students complete 100 points (8 x 12.5 subjects) per year---200
points for the music therapy course.
The Graduate Diploma course is 150 points (we require the Grad Dip students to
have completed the two psychology subjects before starting the course).
5
There are 16 subjects in the course (including two subjects of psychology, and one
subject in social theory). Altogether there are 8 subjects that are theoretical, 4
subjects devoted to Music Therapy Methods, and 4 subjects devoted to Clinical
Training.
50.../.50 %
6
We require our students to have an eclectic training. They undertake 4 clinical
training placements of at least 30 days in each one. The main areas offered for
clinical training are:
Special education (schools for disabled children)
Hospitalised children
Nursing homes (for adults with dementia)
Rehabilitation hospitals (for physical problems)
Community psychiatry
7
Humanistic, Trans-personal
Our students study these models in psychology, but in our music therapy course we
develop music therapy models rather than basing music therapy on psychological
ones. I would say the closest theoretical framework relative to music therapy here is
Rogerian. We teach students to assess the needs of the clients, to develop a music
therapy program that meets those needs. They then assess the effectiveness of the
music therapy program to meet the needs of the clients, making adaptations to the
approach as required.
In special schools, music therapists mostly use an educational model, teaching
students specific skills through the creative medium of music (improvising, singing
songs etc).
In adult work, music therapists mostly use improvisation, singing songs, composing
new songs, and receptive methods such as music and imagery.
The outcomes of these approaches are probably within the realm of humanistic and
transpersonal. I wouldn't regard any of our music therapy work here strictly
psychoanalytical or strictly behaviouristic, although elements of these theories may
be relevant to individual clients, and individual therapists.
It also depends very much on the philosophy of the work-place. Some community
psychiatry centres are focussed on supporting people in their own environment, so
there is little support for intensive therapy work. Other facilities encourage
individual work with patients, so it varies a lot these days. I should point out that
our large psychiatric hospitals no longer exist. Instead we have community
psychiatry centres where people attend each day for supportive type therapy, then
return to their homes at night. People in the acute phase of psychiatric illness are
treated in acute hospitals, where the focus is on medication to stabilise symptoms.
8
Yes. I am a qualified Bonny Method GIM therapist, and I believe GIM to be a form
of music psychotherapy. The University of Melbourne offers a Graduate Diploma
in GIM (see the web site), and this is intensive psychotherapy work. There are
different pre-requisities for this course (different from the Grad Dip in Music
Therapy), and you will see that those applying for the Grad Dip in GIM must have
worked for at least 2 years in a psycho-dynamically oriented clinical setting.
9
Undergraduate students gain a BMus (Bachelor of Music)
Grad Dip students gain a Graduate Diploma in Music Therapy
Grad Dip (GIM) students gain a Graduate Diploma in Guided Imagery and Music
10
We use a wide variety of music: mostly original composed music (songs -improvisation), but current popular music is used for work with adolescents (this
can be rock or funk or anything else current). We use classical music only in the
GIM work, but also use "new age" music for receptive music therapy and for GIM
11
We use Australian songs a lot in music therapy. These can be country-style songs,
or nationalistic songs. Some Aboriginal songs are used in education, but only those
given by the Aboriginal people. Much of their music belongs to them and is not
shared with anglo-saxon Australians.
12
International students are welcome in both the undergraduate degree course in
music therapy and in the Graduate Diploma course in music Therapy.
Institute
4) The University of Queensland
Brisbane, Australia
Contact
Susan E Coull
Person
E-mail
scoull@mailbox.uq.edu.au
1
Yes
2
Yes. (To explain: we offer both undergraduate and graduate courses. Students can
take the 4 year Bachelor of Music, specialising in music therapy, or they can take
the 2-year Graduate Diploma in Music Therapy, which requires a previous degree).
2.a.
Students applying for the Graduate Diploma in Music Therapy must have a degree
in an allied health field (such as medical, nursing, physiotherapy, speech pathology,
occupational therapy, teaching).
3
Four semesters
4
http://www.uq.edu.au/Music/
The curriculum covers theory and practice of music therapy, psychology, clinical
placements (practicum), and music skills (keyboard, voice, guitar, percussion,
improvisation, song-writing, accompaniment, etc).
5
50/50 (VERY approximate!!!)
6
We cover early intervention, paediatric hospitalisation, special education, Acquired
Brain Injury, mental health, gerontology (aged care), rehabilitation, and palliative
care.
We are very eclectic, and work in a wide variety of areas
7
We cover all these areas - students decide for themselves which orientation suits
their work best.
8
Yes - in many instances.
9
Bachelor of Music (Therapy) (undergraduate degree)
Graduate Diploma in Music Therapy (post-graduate degree)
10
We utilise a very wide variety of pre-composed musical styles (rock, blues, pop,
light classical, opera, etc), as well as a great deal of improvised and speciallycomposed music.
11
No - not yet!
12
Yes - but it is very difficult, as overseas students must complete it in one year (not
two).
CANADA
Institute
5) Capilano College
Vancouver, BC,
Canada
Contact
Stephen Williams
Person
E-mail
swilliam@capcollege.bc.ca
1
No, we offer a Bachelor's Degree in Music Therapy.
2
No, but upwards of 40% of our students have degress prior to starting our program
(we begin in the third year of training with the first two years being a collection of
Music, Psychology, English and on Human Biology course).
2.a.
3
4 semesters of prerequisites (the first two years)
4 semesters of Music Therapy training (3rd and 4th year)
6 month internship (professional practica)
4
See below
or www.capcollege.bc.ca then go to programs to find Music Therapy.
5
35/65%
6
No, we focus mainly on generalists (students have practicums with
the elderly, children and adults as part of their training. Our geographic region has a
wide variety of clients - 60% the elderly and the rest of a wide scope of palliative,
HIV/AIDS, children, teens in trouble, drug and alcohol rehab, etc.,
7
8
Yes
9
Bachelor's degree
10
Yes, we use ―light‖ music, for eg. Pop, Rock, improv, Folk, Multi-cultural music,
heavy metal/hard rock, everything.
11
We have a strong multicultural focus in our program.
12
Courses - no. Although each year we do have one or two
international students in our program (taking the full program)
CURRICULUM, CAPILANO COLLEGE
Capilano College
Bachelor of Music Therapy Program
Vancouver, BC, Canada
(mtherapy@capcollege.bc.ca)
3rd Year, 1st term
Credits
M.T. 320 - Improvisation I
1.5
M.T. 330 - Basic Clinical Skills
3.0
M.T. 350 - The Influence of Music
3.0
M.T. 360 - Music Therapy Techniques I 3.0
M.T. 364 - Disabling Conditions of Adulthood 3.0
M.T. 380 - Interpersonal Skills for M.T. 1.5
PMI
- Concentration Instrument *
2.0
PMI
- Secondary Instrument
1.0
*
* Guitar, Piano or Voice
3rd Year, 2nd Term
M.T. 361 - Music Therapy Techniques II
3.0
M.T. 370 - Disabling Conditions of Childhood 3.0
M.T. 391 - Practicum I
6.0
M.T. 420 - Improvisation II
1.0
PSYC 222 Abnormal Psychology
3.0
PMI
- Concentration Instrument
2.0
PMI
- Secondary Instrument
1.0
4th Year, 1st Term
M.T. 340 - Midi Synthesizer Technology
1.5
M.T. 450 - The Influence of Music II
1.5
M.T. 460 - Music Therapy Techniques III
3.0
M.T. 490 - Practicum II
6.0
PSYC 201 Group Dynamics
3.0
PMI
- Concentration Instrument
2.0
PMI
- Secondary Instrument
1.0
4th Year, 2nd Term
M.T. 451 - Music & the Creative Arts
1.5
M.T. 461 - Professional Development/Counselling
M.T. 462 - Principles of Research
3.0
3.0
M.T. 480 - Improvisation III
1.5
M.T. 491 - Practicum III
6.0
PMI
- Concentration Instrument
2.0
PMI
- Secondary Instrument
1.0
Post Basic Program Requirements
M.T. 510 - Internship
9.0
1.25
DENMARK
Institute
6) Institut for Musik og Musikterapi,
Aalborg,
Denmark
Contact
Tony Wigram
Person
E-mail
tony@musik.auc.dk
1
Yes
2
No
2.a.
3
10 semesters, full time (5 years, two semesters each year, feb-june & sept-dec)
(+ a 3-6 year PhD Programme)
4
Music Studies (piano, voice, improvisation, audiolab, graphic notation,
group improvisation, intuitive music, guitar, percussion, history of music &
music appreciation, clinical piano skills.
Theory studies: Music Psychology, Theory of Therapy, Psychology, psychiatry,
child psychology, Theory of Music Therapy, Theory of Science, Music Therapy
Research, Qualitative and Quantitative research.
Clinical Practical: 1 4 week observation practicum (2 sem), 2 x observation
practicums (5 & 7 semester), 2 x one day a week hands-on practicums (6 & 8
semester), long practicum (internship) of 5 months (9 semester).
Self experience elements: Group Music Therapy, Indivisual music therapy,
Group process, Clinical Group Music Therapy Skills, Psychodynamic movement,
Intertherapy and Group Leading
5
50%/50%
6
No - students go to a very wide variety of clinical areas. as well as the more typical
psychiatry and learning/developmental disability, they also go to refugee centres,
work with torture victims, abused children, etc,etc
7
Psychoanalytic, and to a degree, humanistic.
8
Yes
9
High Masters Degree (Cand.Mag)
10
We use ALL kinds of music
11
No
12
Yes - the PhD programme is an International Research School, and at present
we have PHD students from Austria, Norway, Denmark, Belgium, Israel and
Australia registered.
ENGLAND
Institute
7) Anglia Polytechnic University,
Cambridge,
England
Contact
Helen Odell-Miller
Person
E-mail
H.Odell-Miller@anglia.ac.uk
1
No
2
Yes
2.a.
All prospective students are required to complete a standard university
application form. A shortlist for interview and audition is drawn up on the
basis of the following criteria:
- Music degree or equivalent relevant background and evidence of sensitive
flexible musicianship
- Experience with people with learning disabilities and mental health problems,
both children and adults
- Evidence of maturity and stability (seen from age, previous job experience,
written references
- Instrumental /vocal proficiency, and relevant applied experience (two
instruments, one harmonic preferred)
- Sufficient academic skills and experience to undertake and MA qualification
- Appropriate motivation, aspiration, and knowledge of the music therapy field
- Evidence of ability to reflect on one's own responses and reactions
- An ability to use spoken and written English appropriate for Masters level
study
- Ability to benefit from and contribute to the programme
3
3 semesters (18 months)
4
See below
5
See in the curriculum
6
we focus mainly on...All aspects, but acute medical care is the
LEAST taught as it is not practised a lot in the UK ouR RESEARCH
SPECIALITIES ARE
Autism
Adults and Children with Learning Difficulties
Older adults with dementias, and functional illnesses
Adults in Psychiatry
Psychoanalytic Approaches
Improvisation
Child and Family Psychiatry
Eating Disorders
Forensic Psychiatry
etc etc.
7
Psychoanalytically Informed and Developmental
8
There is no short answer to this. It is not psychotherapy, but it can be
psychoanalytically informed and this is the model we use. It is 'music therapy' and
it is one of the 'psychotherapies' in the broad use of the term, but specifically it is
not the same as psychotherapy.
9
1st stage Diploma of Music Therapy (which is
the qualification to practice) 2nd stage is MA
10
We use improvisation and precomposed music in all styles, according
to what is relevant to the patient concerned.
11
No
12
Yes-not specifically, but students from anywhere in the world are
welcome and do their training here.
CURRICULUM, ANGLIA POLYTECHNIC UINIVERSITY
Anglia Polytechnic University,
Cambridge,
England
7. Course Content and Structure
7. 1 The course provides a basic training in Music Therapy with emphasis on clinical
placements, and an introduction to various music therapy approaches. The course is
divided into three sections. The first two sections cover a year of 36 taught weeks,
spanning mid-September to mid-July (16months later to January in the proposed
change of length). During the year students are based partly at the University and
partly at placements. At the end of this period, students can qualify as professional
music therapists with a Postgraduate Diploma and seek employment as such. They
then spend and extra period completing a dissertation, with supervision from the
course team, and on successful completion attain the MA award from the University.
This course allows students to be responsible for their own personal development as
therapists, with regular case work supervision, tutorials, and group support from the
course.
Special features of this course
* Both a Diploma recognised by the Association of Professional Music Therapist
(APMT) and an MA.
* Intensive clinical placements similar to the working situation of a music therapist
* Opportunity to work with both an individual and a group over a period of 16 weeks.
(in the new plan, 'over a period of 3 months and a period of 6 months)
* Weekly experiential music therapy group.
* Weekly small group clinical improvisation classes
* Regular weekly small group supervision.
* Experience of other arts therapies.
The training provides a background in the study of child development, learning
disabilities, psychology, psychiatric disorders, psychoanalytical theories, and related
paramedical professions. Musicianship training develops skills in improvisation, voice
production and the relevant application of musical abilities, such as composition, and
instrumental work. There is a strong emphasis upon the importance of harmonic
elements of music in addition to recognising that all instruments can be effective when
integrated into a music therapists technique. Therefore we accept students whose first
instrument is not a harmonic one, but a harmonic instrument (commonly keyboard or
guitar) is essential as first or second study. The course is structured in four-week
blocks as follows:
Section 1
Block 1
University-based study
Block 2
Observational clinical placement
Block 3
University-based study
Block 4/5
Clinical placement
(learning disabilities)
Section 2
Block 6
University-based study
Blocks 7/8
Clinical placement (psychiatry)
Blocks 9/10 University-based study
Section 3 (new proposal)
Block 11-15 Further Case Work and start of the dissertation
During the clinical placements, students return to the University for one day
per week (two days in the new proposal).
During blocks 7 to 10 students additionally work with one individual case and
one therapy group per week.(see 3. for new proposal)
8. Modular Structure
8.1.The Course Development Steering Group have closely followed the evolving
University Modular Scheme, and have endeavoured as far as possible to adhere to the
recommended structural parameters as they have emerged. In most, but not all,
respects the course complies with the modular regulations, and where it has departed
from these, there have been what we consider to be over-riding reasons. These reasons
are that the training must comply with CPSM regulations, and this means the process
of undertaking clinical placements is central to the training. It also means that training
must be a continuous process-orientated experience, and those modules all should run
concurrently, apart from the dissertation module. This also means that the usual
timetable cannot be absolutely in tandem with the university system. We have
considered the recommendations made in the last validation procedure, and our
conclusions are that this is as close as we can be to the university modular system.
8.2. The structure, comprising the stipulated 180 credits for MA, may be summarised
as follows:
Semesters 1 2 and 3 (new proposal)
Postgraduate Credits
(Level M unless specified)
1. Experiential Development
20
2. Music Therapy Practical Studies(1)(new plan)
10 level H
3. Music Therapy (Theoretical Studies)
30
4. Music Therapy Practical Studies (2)(new plan)
20
5. Observation and Clinical Placements
30
6. Supportive Clinical Studies
10 level H
Semester 3
Dissertation
60
__
Total 180
This allows for a stepped Stage 2 award of a Postgraduate Diploma to be achieved at
the end of the third Semester with 120 credits. The proportion of Level H (3) work is
in the line with UMS recommendations. We have not, however, identified a separate
stage for postgraduate certificate after 60 credits, since the integrated nature of the
course requires aspects of all six modules to continue across the first three semesters.
It is not anticipated that any student would benefit from such an award within this
particular course scheme.
The other major discrepancy with UMS is in the absence, as yet, of a Part-time route,
for similar reasons of intensive integration, with both modules and students being
interdependent. At present we have still considered a part time route to be difficult
without more resources available.
The modular scheme does, however, have the benefit of allowing prospective MA
students already qualified with Postgraduate Diplomas in Music Therapy to apply
with Accreditation of Prior Learning at Anglia.
FINLAND
Institute
8) Jyväskylän Yliopisto
(University of Jyväskylä), Jyväskylä,
Finland
Contact
Jaakko Erkkilä
Person
E-mail
jerkkila@cc.jyu.fi
1
No
2
Yes (practically yes with some exceptions if the previous studies by a student are
very near these of music therapy)
2.a.
We have four institutions in Finland with professional music therapy education.
Practically all of our students have graduated in some of them. However, if
there were a situation with not enough qualified music therapists in entrance
examination, we would tend to consider other competencies (close to music
therapy) as well.
3
Two years (2 x Fall-Spring)
4
See below
Unfortunately we do not have our curriculum in English yet. In the case if you,
or somebody there, can Finnish, our Curriculum is available in:
www.jyu.fi/~jerkkila/musiikkiterapia
5
60/40 %
6
Yes, we focus mainly on two fields:
a) ...on the qualitative analysis of clinical processes. We are using computer
assisted analysis tools as well as tending to provide and maintain contacts
with the experts on this field internationally as well.
b) ... on the musicpsychotherapy issues. Especially from the psychodynamic point
of view. Here, the analysis (as well as developing analysis methods) of
music therapeutic improvisation is in strong role
7
Psychoanalytic (broadly speaking, yes we prefer the term "psychodynamic")
Cognitive (in some extent) Humanistic (in some extent, yes)
8
Yes - but not all the applications. We are nowadays talking about
musicpscyhotherapy
(see Bruscia, 1998) which of course is a form of psychotherapy, but then there
are plenty of those methods which are more functional by nature, thus not being
a forms of psychotherapy.
9
Master of Arts degree
10
We do not have any musical restrictions.
11
No
12
No (maybe in near future...let´s see)
CURRICULUM, UNIVERSITY OF JYVÄSKYLÄ
Jyväskylän Yliopisto
(University of Jyväskylä), Jyväskylä,
Finland
Our master program consists of 40 cr. (in Finland we are speaking about "study
weeks", a unit consisting of 40 hours working. 1 Finnish study week equals 1,5 ETC
(European credits). In addition to that, the students must do the general academic
studies (8 cr.) which consist mainly of language studies (both domestic languages
(Finnish, Swedish), and two foreign languages).
The basic structure of our master degree is:
1.) Special studies (10 cr.)
- lectures and demonstrations on the research methods(4 cr.) (quantitative and
qualitative) of music therapy as well as musicpsychotherapy studies (cr.) + 2 cr.
additional studies (usually visiting lectures, conferences etc.)
2.) Project studies (5 cr.)
- A team based project under supervision dealing with special issues of music therapy
(often linked with the actual events or projects going on at the department). Examples:
participation in the editorial work of the Finnish Journal of Music Therapy;
participation in arranging national (or international) music therapy events like
conferences etc.; planning and carrying out a clinical or educational project on a
particular field of music therapy; participation in an publication project (articles, CDRoms etc.)
3) Master Thesis seminar (5 cr.)
- is required from all the students before finishing their master thesis study. Lectures
on the academic writing skills, presentations (by the students), group discussions,
becoming familiar with information search (Internet, databases, librarys etc.)
4) Master thesis (20 cr.)
- a research with a written report (usually between 60-120 pages) where a student
should show his/her competence as an academic writer as well as his/her competence
of managing the research methods selected.
Unfortunately we do not have our curriculum in English yet. In the case if you, or
somebody
there,
can
Finnish,
our
Curriculum
is
available
in:
www.jyu.fi/~jerkkila/musiikkiterapia
If you are in need of more detailed information (than above) and the Finnish is a
problem, please let me know, and I try to give more detailed answers
FRANCE
Institute
9) A.F.M. Association Française de Musicothérapie C.F.C. Université René
Descartes Paris Paris,
France
Contact
Edith Lecourt
Person
E-mail
edith.lecourt@psycho.univ-paris5.fr
1
Yes
2
Yes
2.a.
Psychology, music
3
6 semesters
4
5
50-50 % (700 h of classes, 900 h of training)
6
We converge principally on. an psychotherapeutic and psychopédagogic approach.
7
Psychoanalytic
8
Yes, a form of re-education (psycho-pegagogy).
9
10
We use every form of music.
11
No
12
Yes, formation by ECTS.
GERMANY
Institute
10) Fritz Perls Institute
Europäische Akademie für Psychosoziale Gesundheit
Düsseldorf,
Germany
Contact
Dr. Isabelle Frohne-Hagemann
Person
E-mail
Ifrohne@aol.com
1
No
2
Yes
2.a.
The training is for medical doctors, psychologists, music teachers etc., thus for
those you have studied before at an university and that have worked at least 12
months in their profession.
3
4 to 5 years
4
Music therapy by self experience, clinical subjects, and case studies, methodology,
theory of interventions, working with the voice, improvisation, dream and
imagination in therapy, music therapy diagnostics, metatheory, psychotherapeutic
theories supervision, and more.
www.integrative-therapie.de
See below
5
Balanced
6
Psychotherapy
7
Cognitive, Humanistic, Trans-personal
8
Yes
9
Certificate degree
10
Both. Whatever would match the client‘s needs
11
No
12
In the Institute yes, but not for music therapy.
CURRICULUM, FRITZ PERLS INSTITUT
EAGEuropäische Akademie für psychosoziale Gesundheit
und Kreativitätsförderung (EAG)
Staatlich anerkannte Einrichtung der beruflichen Bildung in der Trägerschaft des
"Fritz Perls Instituts"- Düsseldorf
Curriculum der Weiterbildung in
Integrativer Musiktherapie (IMT)
(1984, 1989, 1992, 1994, 1999)
Präambel
Das Curriculum zur Aus- und Weiterbildung von Therapeuten in der Methode der Integrativen
Musiktherapie2[2] wird vom "Fritz Perls Institut für Integrative Therapie, Gestalttherapie und
Kreativitätsförderung" (FPI) bzw. der "Europäischen Akademie für psychosoziale Gesundheit und
Kreativitätsförderung" (EAG) durchgeführt.
2[2]
Integrative Musiktherapie wie sie an der EAG bzw. am "Fritz Perls Institut" gelehrt wird, ist nicht zu verwechseln mit einer Musiktherapie
gleichen Namens, die in Österreich in der Arbeit mit Behinderten eingesetzt wird
Inhaltsverzeichnis
Präambel
S. 1
I. Zielsetzung
S. 4
I. 1. Richtziele
S. 4
I. 2. Inhalte
S. 5
I. 3. Charakteristik der Methode
S. 6
I. 3. 1. Ziele musiktherapeutischer Arbeit
S. 7
I. 3. 2. Berufsbild
S. 7
I. 3. 3. Indikation
S. 8
II. Gliederung der Weiterbildung
S. 8
II. Zulassungsbedingungen und -verfahren
S. 8
III. Aufbau und Gliederung der Weiterbildung
S. 10
III. 1. Schwerpunkte der Weiterbildung
S. 10
III. 2. Umfang und Art der Weiterbildung
S. 11
III. 3. Stufen der Weiterbildung
S. 12
III. 3.1. Grundstufe (Selbsterfahrung)
S. 12
III. 3.2. Mittelstufe (Methodik)
S. 12
III. 3.3. Oberstufe (Behandlungsstufe)
S. 15
III. 3.4. Fachprüfung
S. 18
IV. Elemente der Weiterbildung
S. 16
IV. 1 Fortlaufende Selbsterfahrungs- und Ausbildungsgruppe
S. 16
IV. 2. Methodik-Praxis-Programm mit Seminarbeschreibungen
S. 18
IV. 3. Theorie-Programm
S. 24
IV. 4. Lehrtherapie
S. 26
IV. 5. Praxis- und Supervisionsprogramm
S. 26
IV. 6. Praktika
S. 28
IV. 7. Fortlaufende Fortbildung im künstlerischen Bereich
S. 29
V. Abschluss
S. 29
V. 1. Zulassung
V. 2. Graduierungsarbeiten
V. 3. Behandlungsberichte
V. 4. Abschlusskolloquium
V. 5. Graduierung in Integrativer Musiktherapie
V. 6. Graduierung in Integrativer Therapie
S. 29
S. 29
S. 30
S. 30
S. 30
S. 30
Strukturplan für beide Zweige
S. 31
I. Zielsetzung der Weiterbildung
Die Weiterbildung hat zwei Zweige:
a) einen musikpsychotherapeutischen und
b) einen musiktherapeutisch-agogischen bzw. klinisch musiktherapeutischen.
a) Die Zielsetzung des musikpsychotherapeutischen Zweiges ist es, Ärzte, Psychologen und Absolventen
anderer humanwissenschaftlicher Studiengänge3[3] in der Methode der Integrativen Musiktherapie als
tiefenpsychologisch fundierter Form der Psychotherapie zu qualifizieren, und zwar sowohl für die einzel- als
auch für die gruppenpsychotherapeutische Behandlung. Die Weiterbildung soll theoretisches und
praktisches Rüstzeug dergestalt vermitteln, dass der Musikpsychotherapeut 4[4] nach Abschluss der
Weiterbildung eigenständig und verantwortungsvoll zur psychotherapeutischen und musiktherapeutischen
Versorgung der Bevölkerung beitragen kann.
b) Die Zielsetzung des klinisch - musiktherapeutischen Zweiges ist es, Angehörige psychosozialer,
pflegerischer und pädagogischer Berufe in den entwicklungsfördernden, heilpädagogischen und
orthoagogischen bzw. übungszentrierten und erlebniszentrierten Vorgehensweisen der Integrativen
Musiktherapie für Einzel- und Gruppenbehandlungen methodisch und theoretisch dergestalt zu
qualifizieren, dass sie als klinische Musiktherapeuten in Zusammenarbeit mit Ärzten, Psychotherapeuten
und dem jeweiligen Team mit den ihnen anvertrauten Patienten und Klienten im klinischen, präventiven,
rehabilitativen und heilpädagogischen Rahmen kompetent umgehen können.
I. 1
Richtziele
Für beide Zweige gelten vier Richtziele
I. 1.1. Förderung der personalen Kompetenz und Performanz
Personale Kompetenz ist die Fähigkeit der Person zu "komplexer Bewusstheit", d.h. ihre Möglichkeit, sich selbst im Umfeld wahrzunehmen, ihre Bedürfnisse
und Interessen verantwortlich und adäquat zu regulieren, ihre Potenziale zu erhalten und zu entfalten und damit Sinn für das persönliche und gemeinschaftliche Leben zu
gewinnen. Personale Performanz ist die Umsetzung der Fähigkeit zur Selbstwahrnehmung, Selbstregulation und Selbstverwirklichung im Alltagshandeln. Die Musik kann
diesen Zielen dienen.
Die Basis der Persönlichkeit ist der Leib. Deshalb setzt die Förderung der expressiven musikalischen Kompetenz und Performanz bei der Förderung der
leiblichen Vermögen an, d.h. der sinnlichen Wahrnehmung, des bewussten Fühlens und des Lernens bzw. Speicherns von Wahrnehmungen und wahrgenommenen
Gefühlen. Der Leib ist die Person in ihrer psycho-physischen Ganzheit. Musik kann nur leibhaftig auf den ganzen Menschen wirken, wenn sie entsprechend mit "Leib und
Seele" erlebt und gespielt wird. Musik als die vielleicht "geistigste" aller Kunstformen ist lebendiger Ausdruck von Fühlen und Verhalten und bedarf umso mehr der
leiblichen Verankerung, wenn sie der Selbstwahrnehmung, Selbstregulation und Selbstaktualisierung therapeutisch dienen soll. Dann allerdings kann sie den Menschen
seelisch-körperlich und geistig "schwingungsfähig" machen und ihn von einengenden Haltungen und Einstellungen befreien.
I.1.2. Förderung der sozialen Kompetenz und Performanz
Soziale Kompetenz setzt die personale voraus und ist die Fähigkeit der Person, komplexe soziale Situationen adäquat wahrzunehmen und auf sie
angemessen zu reagieren. Soziale Kompetenz und Performanz schließen die Fähigkeit ein, soziale Situationen aufzubauen, mit anderen Menschen und Gruppen in Korespondenz zu treten, um auf diese Weise zu Konsens, Konzepten und Kooperation zu gelangen. Die soziale Kompetenz und Performanz des Musiktherapeuten setzt
Schwingungsfähigkeit, d.h. Empathie und Resonanzfähigkeit, voraus, um mit anderen Menschen gemeinsam musikalisch improvisieren zu können. Musik in
3[3]
Bei Absolventen anderer humanwissenschaftlicher Studiengänge als Medizin und Psychologie muss für Weiterbildungskandidaten aus der
BRD für die Zulassung zum psychotherapeutischen Zweig die Erlaubnis zur entsprechende Ausübung der Heilkunde angestrebt werden. Für
Ausbildungskandidaten aus anderen Länder gelten die landesrechtlichen Bestimmungen.
4[4]
Im folgenden wird aus Gründen der Übersichtlichkeit nur die männliche Form benutzt.
therapeutischer Anwendung, z.B. eine Partner- oder eine Gruppenimprovisation ist immer ein soziales Ereignis, das Menschen auf sehr verschiedenen Ebenen korespondieren lässt. Gerade auf Grund der Mehrperspektivität musikalischer Interaktionen und der Vieldeutigkeit des musikalischen Geschehens ist soziale Kompetenz und
Performanz des Musiktherapeuten unerlässlich.
I.1.3. Förderung der professionellen Kompetenz und Performanz
Im Bereich der "angewandten Humanwissenschaften" kann professionelle Kompetenz und Performanz nicht losgelöst von der personalen und der sozialen betrachtet
werden. Spezifisch verstehen wir unter Professionalität die Beherrschung der theoretischen Konzepte und Fähigkeiten sowie der praktischen Fertigkeiten, die zu einer
qualifizierten Ausübung der Profession erforderlich sind. Professionalität bezieht sich auf die Beherrschung therapeutischer Konzepte, Fähigkeiten und Fertigkeiten, die
jeden Therapeuten, gleichgültig welcher Schule, auszeichnen sowie auf die Beherrschung spezifisch musiktherapeutischer Konzepte, Fähigkeiten und Fertigkeiten.
I.1.4. Förderung des sozialen Engagements
Therapeutische Arbeit mit Menschen, sei sie nun agogisch-soziotherapeutischer oder psychotherapeutischer Ausrichtung, erfordert Engagement für die Integrität von
Menschen, Gruppen, Lebensraum; ohne diese wird sie ineffizient und fragwürdig. Es soll ein kritisch-emanzipatorisches Bewusstsein und die Bereitschaft der Person zu
"engagierter Verantwortung", zur Entscheidung, sich für die Belange anderer einzusetzen und im sozialen und politischen Berei ch Initiativen zum Abbau der multiplen
Entfremdung zu ergreifen, entwickelt und gefördert werden. Derart komplexe Zielsetzungen können nicht lehrbuchartig vermittelt werden, sondern erfordern den aktiven
Einsatz der Weiterzubildenden.
I.1. 5. Inhalte
I. 1.5.1. Musikpsychotherapeutischer Zweig:
1.5.1.1. Eingehende Kenntnisse allgemeinpsychologischer und tiefenpsychologischer Persönlichkeitstheorien sowie psychoanalytischer, neurologischer, kognitions - und
emotionspsychologischer Entwicklungstheorien, weiterhin allgemeine und spezielle Krankheitslehre (Genese seelischer Störungen und Erkrankungen).
1.5.1.2. Eingehende Kenntnisse in und Erfahrungen mit tiefenpsychologisch fundierter Therapie und Integrativer Musiktherapie als analytischem bzw.
konfliktzentriert aufdeckendem Verfahren der Einzel- und Gruppenpsychotherapie sowie anderen davon abgeleiteten Ansätzen wie Fokaltherapie, Kurztherapie, Paar- und
Familientherapie.
1.5.1.3. Eingehende Kenntnisse in zwei nicht tiefenpsychologischen Verfahren wie z.B. Verhaltenstherapie, Psychodrama, Gesprächspsychotherapie,
Autogenes Training (werden z.T. im Rahmen der Ausbildung angeboten).
1.5.1.4. Gründliche Kenntnisse der Anamneseerhebung und Exploration seelischer Erkrankungen, um diagnostische und therapeutische Maßnahmen planen
und durchführen zu können und einen prognostischen Rahmen abzustecken.
1.5.1.5. Kenntnisse, um dem Patienten die Sinnzusammenhänge seiner unbewussten Strebungen und Konflikte erfahrbar werden zu lassen.
1.5.1.6. Eingehende Kenntnisse spezifisch musiktherapeutischer Hermeneutik, Diagnostik, und Theragnostik.
I. 1.5. 2. Klinisch-musiktherapeutischer Zweig
Neben den Inhalten aus 1.5.1.1., 1.5.1.2., 1.5.1.2. und 1.5.1.6. wird auf Folgendes zentriert:
1.5.2.1. Eingehende Kenntnisse erlebniszentrierter, heilpädagogischer und musikagogischer Interventionsformen.
1.5.2.2. Gründliche Kenntnisse musikpsychotherapeutischer Arbeit als aufdeckendem Ansatz, um die eigene musiktherapeutische Tätigkeit in Abgrenzung zur
psychotherapeutischen Arbeit bestimmen zu können.
I. 2 Charakteristik der Methode
Integrative Musiktherapie (IMT) ist eine ganzheitliche Methode, in der psychotherapeutische, musikagogische und musikheilpädagogische Maßnahmen
klinisch fundiert verbunden werden. Sie kann als psychotherapeutisch fundierte Methode konfliktzentriert-aufdeckend angewandt werden und als agogischmusiktherapeutische Methode übungszentriert oder erlebniszentriert mit klinischer, heilpädagogischer, präventiver oder rehabilitativer Zielsetzung eingesetzt werden.
Seelische Erkrankungen und Störungen haben immer auch ein nonverbales Korrelat. Eine ausschließlich verbale Therapie greift oft zu kurz. Auch die therapeutische
Beziehung kann nicht immer ausreichend verbalisiert werden. Musiktherapie kann eingesetzt werden, um die non -, prä - und transverbalen Bereiche hör- und
wahrnehmbar werden lassen. In der Integrativen Musikpsychotherapie werden die nonverbalen musiktherapeutischen Maßnahmen jedoch mit verbalen Strategien der
Aufarbeitung verbunden. Der Einsatz musikalischer Mittel wie Improvisation oder musikevozierte Imagination (z.B. in der rezeptiven Musiktherapie) etwa dient gleichzeitig
der Diagnostik und der Vertiefung des therapeutischen Prozesses. In diesem Sinne ist die IMT als Musikpsychotherapie den tiefenpsychologischen, psychodynamisch
orientierten Verfahren, die kreative Medien und künstlerische Formen verwenden, zuzurechnen.
Als agogische, musiktherapeutische Methode ist die IMT auf die Förderung der Persönlichkeitsentwicklung und auf Behandlung durch übende, stützende,
ressourcenorientierte, kompensierende und erlebniszentrierte Maßnahmen gerichtet. Wo sie sich auf die Übungs- und erlebniszentrierte Modalität des Vorgehens
beschränkt, ist die IMT eher der entwicklungsorientierten Musiktherapie zuzurechnen. Die beiden Ausbildungsorientierungen tragen bei gleicher psychotherapeutischer
Grundhaltung mit dieser Differenzierung den unterschiedlichen Zugangsvoraussetzungen und Aufgabenfeldern sowie gesetzlichen Gegebenheiten Rechnung.
Der Integrative Musiktherapeut wendet die Ergebnisse und Methoden psychologischer Grundlagendisziplinen und verwandter Bereiche wie (Musik)Psychologie, (Musik)-Soziologie, Medizin, u.a. sowohl im (musik)psychotherapeutischen als auch im (musikheilpäd) -agogischen Sinne an. In dieser Hinsicht ist Integrative
Musiktherapie immer als "klinische" Methode zu verstehen. Sie ist eine Praxisbezogene Disziplin auf der Grundlage metatheoretischer Konzepte.
I.3. Ziele der musiktherapeutischen Arbeit
Integrative therapeutische Arbeit umfasst Maßnahmen, die der Wiederherstellung, Erhaltung und Förderung von Gesundheit und der Entwicklung und Bereicherung der
Persönlichkeit mit musikalischen Mitteln dienen. Musiktherapie ist die theoriegeleitete Einwirkung auf den Menschen in seiner körperlich-seelisch-geistigen Realität, in
seinen bewussten und unbewussten Strebungen und in seinen sozialen und ökologischen Eingebundenheiten. Diese Einwirkung geschieht mit musikalischen und
anderen kreativen Mitteln. Die musiktherapeutischen Ziele leiten sich ab von den diagnostizierten Krankheitsbildern bzw. seelischen und sozialen Störungen, Konflikten,
Traumata und Defiziten. Dabei muss auch immer das Konzept berücksichtigt werden, dass der Mensch ein Körper-Seele-Geist-Subjekt in einem sozialen und
ökologischen Umfeld ist. Dieses Umfeld muss bei jeder therapeutischen Maßnahme einbezogen werden.
Die Ziele betreffen
- Prophylaxe, d.h. präventive Maßnahmen zur Verhinderung des Abbaus oder
der Störung gesunden Potenzials;
- Erhaltung, d.h. konservierende bzw. stabilisierende Maßnahmen zur
Erhaltung vorhandenen Potenzials;
- Restitution, d.h. reparative Maßnahmen zur Behebung oder Verbesserung von
Störungen und Defiziten;
- Entwicklung, d.h. evolutive Maßnahmen zur Entfaltung und Förderung
vorhandener Fähigkeiten und der Gesamtpersönlichkeit;
- Bewältigung (Coping), d.h. supportive Maßnahmen als Hilfe beim Umgang mit
irreversiblen Störungen und Schädigungen;
I. 4. Berufsbild
Die Weiterbildung zum "Psychotherapeuten für Musiktherapie" und zum " Klinischen Musiktherapeuten" ist
in Bezug auf die berufliche Qualifizierung den musiktherapeutischen Diplom-Aufbaustudiengängen auf
Hochschulebene vergleichbar (Berlin, Hamburg, Münster, Herdecke).5[5] Sie vergibt jedoch keinen
staatlichen Abschluss.
Integrative Musikpsychotherapeuten arbeiten in Klinik, Ambulanz, Fachkrankenhäusern, in freier
Praxis, in Einrichtungen der Suchtkrankenhilfe und Rehabilitation oder anderen Institutionen der Psychound Soziotherapie als Einzel- und Gruppenpsychotherapeuten.
Klinische Musiktherapeuten arbeiten im Rahmen von klinischen, heilpädagogischen und
rehabilitativen Einrichtungen als Einzel- und Gruppentherapeuten. Ferner arbeiten sie in der Soziotherapie,
Prävention, Pädagogik, Erwachsenenbildung und Geragogik. Der klinische Musiktherapeut arbeitet mit
Ärzten und Psychotherapeuten zusammen. Er behandelt im stationären und im ambulanten Bereich
psychiatrische Patienten, Neurosepatienten, Suchtkranke, Kinder- und Jugendliche, alte Menschen bzw.
wirkt an der Behandlung mit.
Integrative Musiktherapie wird in Institutionen des Sozial- und Gesundheitswesens eingesetzt:
- im klinischen Bereich (z.B. in psychotherapeutischen Spezialkliniken für Kinder, Jugendliche und
Erwachsene, in stationären und semistationären Kliniken, in somatischen Fachkliniken)
-
im rehabilitativen Bereich (z.B. in Fördereinrichtungen für Kinder, Jugendliche und Erwachsene
mit psychischer, geistiger und/oder körperlicher Behinderung; in Kurkliniken, in ambulanten
psychiatrischen Nachsorgeeinrichtungen)
- im präventiven Bereich (z.B. in der prophylaktischen und metaprophylaktischen Arbeit bei
Kindern, Jugendlichen und Erwachsenen in allen Lebensabschnitten)
-
in der Sonderschule, in heilpädagogischen Einrichtungen,
- in sozialtherapeutischen Einrichtungen, in Heimen, in der Sozialpädiatrie
- im Justizvollzug
- in der Jugendberatung, in der freien Jugendarbeit
- in der Drogenberatung
- in der Altenarbeit
- in der freien Praxis (auch Gemeinschaftspraxen).
Insgesamt wird Integrative Musiktherapie eingesetzt bei der Behandlung von:
-
psychotischen Erkrankungen,
-
ich-strukturellen Störungen (Borderline und narzisstische Störungen)
- Süchtigen und Suchtgefährdeten
-
psychosomatischen Erkrankungen,
-
neurotischen Erkrankungen,
-
psychovegetativen Störungen,
-
Schmerzpatienten,
-
frühgeborenen und gestörten Säuglingen und Kleinkindern mit ihren Bezugspersonen,
-
geriatrischen Patienten,
-
unheilbar Kranken und Sterbenden,
5[5]
In Ausnahmefällen können auch Absolventen eines Fachhochschulstudiums mit einschlägiger, mindestens zweijähriger klinischer Erfahrung
und Erlaubnis zur nichtärztlichen Ausübung der Heilkunde (Heilpraktikerprüfung), nachdem sie die Weiterbildung zum Klinischen
Musiktherapeuten absolviert haben, durch Beschluss des Ausbildungsausschusses zum musikpsychotherapeutischen Zweig zugelassen werden,
wenn eine besondere Eignung und Kompetenz vorliegt.
-
Entwicklungs- und Verhaltensstörungen und -defiziten im Kindesalter,
-
sowie bei der Betreuung, Beratung und Therapie von Familien, Behinderten, Strafgefangenen und
asozialen Problemgruppen, u.a.
I.5 Gliederung der Weiterbildung
Die Weiterbildung ist in einen Zweig für "Musikpsychotherapie" und in einen Zweig für "klinische Musiktherapie" gegliedert, um den entsprechenden
gesetzlichen Vorschriften für die Ausübung der Heilkunde, der unterschiedlichen Vorbildung und den verschiedenen Interessen der Weiterbildungskandidaten zu
entsprechen.
II. Zulassungsbedingungen und Zulassungsverfahren
Die Zulassung zur Weiterbildung in Integrativer Musiktherapie ist an bestimmte formale Voraussetzungen gebunden. Über Ausnahmeregelungen entscheidet
die Instituts- bzw. die Fachbereichsleitung.
II. 1. Formale Voraussetzungen
II. 1. 1. musikpsychotherapeutischer Weiterbildungszweig
Zu diesem Zweig kann zugelassen werden, wer ein Medizin- oder Psychologiestudium abgeschlossen hat und über eine mindestens zwölfmonatige
Berufserfahrung im klinischen oder sozialen Bereich verfügt. Ferner können Personen zugelassen werden mit den Voraussetzungen für den klinisch-musiktherapeutischen
Zweig, sofern sie die Zulassung zur eingeschränkten oder vollen nichtärztlichen Ausübung der Heilkunde (Heilpraktikergesetz) anstreben. Die Weiterbildung kann nicht vor
dem 24. Lebensjahr begonnen und nicht vor dem 28. Lebensjahr abgeschlossen werden.
II. 1.1.2. Klinisch-musiktherapeutischer Zweig
Zu diesem Zweig kann zugelassen werden, wer ein Studium der Pädagogik, Sonderpädagogik, Musikpädagogik, Musik, Rhythmik, Musikwissenschaft,
Sozialpädagogik, Sozialarbeit, Krankenpflege, o.a. (möglichst mit Fachhochschulabschluss) abgeschlossen hat und über eine mindestens zwölfmonatige berufliche Praxis
im klinischen, pädagogischen oder sozialen Bereich verfügt.
Die Weiterbildung kann nicht vor dem 24. Lebensjahr begonnen und nicht vor dem 28. Lebensjahr abgeschlossen werden. Zugelasse n werden können auch
Gastteilnehmer, die ein (Fern) Studium mit angestrebten Hochschulabschluss aufgenommen haben, wobei eine Graduierung jedoch nur bei Nachweis des
abgeschlossenen Studiums möglich ist. Über weitere Ausnahmeregelungen entscheidet die Fachbereichsleitung.
II. 2. Zulassungsverfahren
Sind die formalen Voraussetzungen erfüllt, erfolgt das Zulassungsverfahren, durch welches die persönliche Eignung festgestellt werden soll.
II. 2.1. Persönliche Eignung
Die Weiterbildung erfordert vom Weiterbildungskandidaten eine Reihe von persönlichen Eigenschaften, die die Voraussetzung für die therapeutische Arbeit an sich selbst
im Rahmen der Weiterbildung und für die spätere therapeutische Arbeit mit anderen Menschen darstellen. Es werden physische und psychische Belastbarkeit,
Konfliktbewusstsein und Selbstreflexion, Rollenflexibilität, soziales Differenzierungsvermögen, Frustrationstoleranz, die Fähigkeit, mit Aggressionen umzugehen, Nähe und
Distanz zu regulieren und die Motivation zur Arbeit an sich selbst erwartet. Darüberhinaus werden eine gute musikalische Vorbildung und gute instrumentale bzw.
improvisatorische Fähigkeiten und Fertigkeiten erwartet, so dass die oben genannten Voraussetzungen für den Beruf des Musiktherapeuten auch in der (improvisierten)
Musik hörbar und vermittelbar werden können. Entscheidend ist jedoch nicht eine virtuose Spieltechnik, sondern die musikalische und kommunikative Sensibilität.
II. 2.2. Zulassungsprozedere
II. 2.2.1. Zulassungsseminar
Ziel des Zulassungsseminares ist es, einen Eindruck von der persönlichen Eignung des Bewerbers zu gewinnen, insbesondere von seiner Fähigkeit, sich in
komplexen sozialen Situationen zu verhalten und in einer Gruppe zu kommunizieren. Das Seminar wird von einem Lehrbeauftragten und einem Co-Therapeuten geleitet
und läuft als Blockveranstaltung über fünf Tage. Bei Abschluss des Seminares teilt der Lehrbeauftragte jedem Bewerber seine Einschätzung mit und leitet seine
Stellungnahme an den das Institut weiter. Sofern genügend Lehrbeauftragte anwesend sind, kann auch eines der erforderlichen Interviews während des Seminars
durchgeführt werden.
II. 2.2.2. Eingangsinterviews
Zwei Tiefeninterviews dienen wie das Zulassungsseminar dazu, ein Bild von der Persönlichkeit des Bewerbers, seiner Bewussthei t für biografische Einflüsse, seiner
Belastbarkeit, Empathie- und Introspektionsfähigkeit zu gewinnen. Eines der beiden Interviews dient auch dazu, die musikalische Eignung festzustellen, die für diesen
Beruf erforderlich ist. Die Lehrbeauftragten geben ihre Stellungnahme an das Institut weiter. Wird ein Bewerber abgelehnt, so werden ihm die Gründe mitgeteilt.
II. 2.3 Zulassung
Die vorläufige Zulassung erfolgt bei Vorliegen der formalen Voraussetzungen und Feststellung der persönlichen Eignung durch Gutachten der
Lehrtherapeuten bzw. Lehrbeauftragten, die das Zulassungsseminar und die Eingangsinterviews durchgeführt haben. Die Zulassung kann an bestimmte Empfehlungen
geknüpft werden, z.B. vor Beginn der Weiterbildung oder parallel zu ihr eine Therapie zu machen oder Kurse zur Entwicklung der musikalischen oder instrumentalen
Fähigkeiten zu belegen.
Im Falle der Ablehnung kann auf Antrag des Bewerbers ein zusätzliches Interview oder Zulassungsseminar bei einem weiteren Leh rtherapeuten oder
Lehrbeauftragten durchgeführt werden.
Der Weiterbildungskandidat erhält einen Platz in einer neu beginnenden, fortlaufenden Weiterbildungsgruppe. Nach Absolvierung der Mittelstufe wird eine
Zwischenprüfung (Fachprüfung siehe III. 4) abgelegt und die Zulassung zur Oberstufe beschlossen. Grundlage hierfür bildet die Beurteilung des Weiterbildungskandidaten
durch seine Lehrtherapeuten, die durch die Einschätzung der Weiterbildungsgruppe ergänzt wird. Die letzte Entscheidung liegt bei der Fachbereichsleitung.
Sollten im Verlauf der Weiterbildung grundsätzliche Zulassungsvoraussetzungen entfallen, so dass das Erreichen des Weiterbildungszieles nicht
gewährleistet erscheint, kann das Weiterbildungsverhältnis durch Entscheidung des Leitungsgremiums des Instituts unterbrochen oder aufgehoben werden.
Das Verhältnis zwischen der EAG und dem Weiterbildungskandidaten wird vertraglich geregelt.
III. Aufbau und Gliederung der Weiterbildung (siehe Strukturplan S. 40)
Die Weiterbildung läuft berufsbegleitend über 4 - 5 Jahre und wird über weite Strecken für beide Zweige gemeinsam durchgeführt. In einem zeitlich
gegliederten Rahmen sollen bestimmte Ziele und Inhalte vermittelt werden. Es soll nicht nur Faktenwissen, sondern die Entwicklung zu einer integrierten und
differenzierten Persönlichkeit gefördert werden, die den Anforderungen eines therapeutischen und psychosozialen Berufes gewachsen ist. Das Lernziel soll erreicht
werden, indem die "Methode durch die Methode" gelehrt und gelernt wird. Damit erhält die Selbsterfahrung einen zentralen Platz. Das Curriculum ist so angelegt, dass
musikalische, kognitive, affektive und soziale Lernziele und -inhalte in aufeinander aufbauender Weise durch die verschiedenen Seminare vermittelt werden und dass sich
die Persönlichkeitsentwicklung auch im Hinblick auf Form und Intensität der Selbsterfahrung vollziehen kann.
Die einzelnen Elemente und Abschnitte des Curriculums sollen in der festgelegten Folge absolviert werden, um ein optimales Lernen zu gewährleisten. Sollte
im Einzelfall eine andere Struktur des Zeitplanes erforderlich werden, so kann dies mit dem zuständigen Lehrtherapeuten oder dem Weiterbildungsleiter des Instituts
besprochen werden. Das Curriculum ist nicht gleichbedeutend mit "Verschulung" und der Normierung individueller Prozesse. Es i st so angelegt, dass in seinem Rahmen
Freiraum für den individuellen Rhythmus gegeben ist.
Weiterbildungselemente oder Stundenangaben, die für den psychotherapeutischen Zweig gelten, sind mit einem Asterikos * markiert. Sie können von
Weiterbildungskandidaten der klinischen Musiktherapie fakultativ belegt werden.
III. 1 Schwerpunkte der Weiterbildung
III. 1.1. Selbsterfahrung S ( mindestens 700 Std.)
Sie stellt das Kernstück der Weiterbildung dar und wird durch folgende Elemente des Curriculums vermittelt: Lehranalyse, Einzellehrmusiktherapie (oder
integrierte musik- und integrativtherapeutische Lehrtherapie), fortlaufende Selbsterfahrungs- und Weiterbildungsgruppe, Intensivseminar, Methodik-Praxis-Programm,
Supervision, Kontrollanalyse/Kontrollstunden.
III. 1.2. Theorie T (mindestens 500 Std.)
Theoretische Kenntnisse werden in einem Theorieprogramm, im Methodik-Praxis-Programm und teilweise im Intensivseminar und im Supervisionsprogramm
vermittelt.
III. 1.3. Methodik M (mindestens 320 Std.)
Die methodisch-praktische Arbeit umfasst zwei Schwerpunkte:
1. das Einüben therapeutischer und musiktherapeutischer Fertigkeiten ,
2. berufsbegleitende Praxis durch kontrollierte Einzel- (400 Std. bzw. 200 Std.* ) und Gruppenmusiktherapie (60 Std.) sowie durch die Seminare des
Supervisionsprogramms.
III. 2 Umfang und Art der Weiterbildung
In der Mehrzahl der Veranstaltungen wird versucht, Selbsterfahrung (S), Theorie (T) und Methodik/Praxis (M) zu integrieren. In der nachfolgenden Gliederung sind die S-,
6[6]
T- und M- Anteile der einzelnen Veranstaltungen nach ihrer Stundenverteilung approximativ gekennzeichnet
a)
Fortlaufende Selbsterfahrungs- und
360 Std.
Weiterbildungsgruppe (200 S + 70 T+ 90 M)
b) Methodik-Praxis-Programm einschließlich
450 Std./ 320 Std.*
Wahlpflichtseminare (150 S + 150 T+ 150 M);
c) Theorieprogramm (fortlaufende Vorlesungen (240 T),
240 Std.
d) Intensivseminare (1oo S+ 30 T+ 30 M);
160 Std./80 Std.*
e) Lehranalyse/-therapie (ca 200 Std. /ca 100 Std.);
Std./ 100 Std.*
f) Einzellehrmusiktherapie (ca 100 Std./ca 60 Std.)
60 Std. / 60 Std.*
e)f) als integrierte musik- und integrativtherapeutische
200 Std./ 160 Std.
Lehranalyse)
g) Praxis- und Supervisionsprogramm
-fortlaufende Supervisionsgruppe
-Kompaktseminare
60 Std./ 60 Std.*
80 Std. /80 Std.*
-kontrollierte Anamnesen
h) - Kontrollanalyse(100 S/M) /Kontrollstunden (50 S/M)
20 Std./10 Std.*
100 Std.+/50 Std.*
insgesamt
1730 Std.+/1350 Std.*
i) kontrollierte Einzel- und Gruppenarbeit ca
460 Std./200 Std.
j) insgesamt drei Monate klinische Praktika
500 Stunden
k)
individuell
Arbeits- und Spielgruppen, Instrumentalunterricht
6[6]
Eine Therapiestunde = 50 Minuten; eine Unterrichtsstunde = 45 Minuten; ein Blockseminartag (1 Ausbildungseinheit AE)= 8
Unterrichtsstunden
III.3 Stufen der Weiterbildung
III. 3.1. Grundstufe (Selbsterfahrung)
Die Grundstufe umfasst das erste Weiterbildungsjahr. Die Themen, die in der fortlaufenden Weiterbildungsgruppe behandelt werden, werden in folgenden
Seminaren und Veranstaltungen vertieft:
-
Eingangsphase der Weiterbildungsgruppe (4 Blöcke a 24 AE, 1 Block a 32 AE)
-
Musik - Bewegung - Therapie
- Musik und funktionelle Entspannungsverfahren
- Musiktherapeutische Stimmarbeit
-
Theorie I
- Theorieprogramm (allgemeiner Teil in fortlaufenden Arbeitsgruppen)
-
Wahlpflichtfächer +
-
Praktikum*
Die Ziele und Inhalte sind in der Beschreibung der einzelnen Weiterbildungselemente dargelegt. Bei Abschluss der Grundstufe wird in der laufenden
Selbsterfahrungs- und Weiterbildungsgruppe von Lehrtherapeut und Gruppe eine Reflexion der persönlichen Entwicklung durchgeführt.
Bewertungskriterien für die Grundstufe:
Die Ziele der Grundstufe sind erreicht, wenn der Weiterbildungskandidat in der Lage ist,
-
differenziertes Feedback zu geben
-
emotionales Erleben verbal und musikalisch auszudrücken
-
persönliche Schwierigkeiten und Konflikte einzubringen und zu bearbeiten
-
Direktheit, Offenheit und Wärme in seinen Interaktionen in der Gruppe zu zeigen
-
sich in musikalischen Interaktionsspielen und in der musikalischen Selbstäußerung flexibel und spontan auszudrücken
-
einige für die Musiktherapie relevante Musikinstrumente im Rahmen von improvisatorischen Aufgabestellungen und Ensemblespielen zu beherrschen
-
über Inhalte aus dem allgemeinen Theorieprogramm der Integrativen Therapie und der Integrativen Musiktherapie zu verfügen.
III. 3. 2. Mittelstufe (Methodik)
Die Mittelstufe umfasst das zweite und dritte Weiterbildungsjahr mit folgenden zusätzlichen Seminaren und Veranstaltungen:
-
Aufbau- und Abschlussphase der fortlaufenden Selbsterfahrungs- und Weiterbildungsgruppe.
-
Musik, Traum und Imagination
-
Ergebnisse der Therapieforschung
-
Psychopathologie I und II
-
Diagnostik (Erstinterview und prozessuale Diagnostik)
-
Musiktherapeutische Diagnostik und Hermeneutik
-
Gruppenprozessanalyse
-
Musiktherapeutische Methoden
-
Theorieprogramm (spezieller Teil)
-
Seminar Theoretische Grundlagen II
-
Seminar Theorie III (Musiktherapie)
-
Wahlpflichtseminare
-
Lehranalyse/Lehrmusiktherapie
-
Intensivseminar
-
Praktikum
-
Fachprüfung
Die Mittelstufe wird mit der fortlaufenden Weiterbildungsgruppe abgeschlossen. Von den Lehrtherapeuten und der Gruppe wird eine Bewertung durchgeführt.
Auf der Grundlage dieser Bewertung aus der Gruppe, der befürwortenden Stellungnahme des Lehrtherapeuten, der die Lehranalyse/-therapie durchführt und auf Grund
der Fachprüfung (siehe III,4) wird über die Zulassung zur Oberstufe und damit über die Zulassung zur Behandlungsstufe der Wei terbildung entschieden. Der Kandidat
beginnt mit der Oberstufe, wenn er einen Platz in einer Supervisionsgruppe oder für die Kontrollanalyse/Kontrollstunden hat.
Bewertungskriterien für die Mittelstufe:
Die Ziele der Mittelstufe sind erreicht, wenn der Weiterbildungskandidat
-
Über ein angemessenes Problembewusstsein verfügt
-
seine Mechanismen und Verhaltensmuster kennt und mit ihnen umgehen kann
-
Einsichten aus seiner Selbsterfahrung in seinem Alltagsleben umsetzt
-
Prozesse in der Gruppe erkennen und beschreiben kann
-
musiktherapeutische Prozesse erkennen und beschreiben kann
-
den Prozess eines musiktherapeutischen Sitzungsverlaufes erkennen, verfolgen und beschreiben kann
-
die Techniken der musiktherapeutischen Einzel- und Gruppenarbeit beherrscht
-
in der Lage ist, personenzentrierte musiktherapeutische Sitzungen lege artis durchzuführen
-
in der Lage ist, gruppenmusiktherapiezentrierte Sitzungen zu leiten
-
die theoretischen Grundlagen Integrativer Musiktherapie beherrscht
-
Über eingehende Kenntnisse des speziellen Theorieprogramms verfügt
III. 3.3. Oberstufe (Behandlungsstufe)
Die Oberstufe umfasst das vierte und fünfte Ausbildungsjahr mit folgenden Seminaren und Veranstaltungen:
-
Krisenintervention*
-
Supervision I
-
Supervision II+
-
fortlaufende Supervisionsgruppe
-
.
2o Std. /10 Std Anamneseerhebung
-
Fortsetzung der integrative Lehrtherapie
Fortsetzung der Einzelmusiktherapie (Lehrmusiktherapie) bzw. integrierte Lehrtherapie
Kontrollanalyse+/Kontrollstunden*
-
Wahlpflichtseminare
-
Praktikum
Der Schwerpunkt der Oberstufe liegt auf der praktischen Behandlungstätigkeit der Weiterbildungskandidaten, begleitet durch Supervision und
Kontrollanalyse bzw. Kontrollstunden. Mit Abschluss der Oberstufe wird von den Lehrtherapeuten, die die Kontrollanalyse/-stunden und die Supervisionsgruppe
durchführen, jeweils ein Gutachten erstellt, das über die Zulassung zur Graduierung entscheidet.
Bewertungskriterien für die Oberstufe:
Die Ziele der Oberstufe sind erreicht, wenn der Weiterbildungskandidat in der Lage ist,
-
die Situationen von Gruppen- und Einzelklienten bzw. -patienten diagnostisch sicher zu erfassen und die Indikation für Musiktherapie stellen zu können
-
geeignete Problemlösungsstrategien zu entwickeln und die vielfältigen Interventionsmöglichkeiten in der Integrativen Musiktherapie indikationsgerecht und kreativ
einzusetzen
-
die Dynamik der Fokal-, Kurzzeit- und Langzeittherapien in der musiktherapeutischen Einzel- und Gruppenarbeit auf allen Ebenen der therapeutischen Tiefung zu
handhaben
-
seine therapeutischen Interventionen und Strategien theoretisch zu begründen.
-
seine Eigenproblematik so zu handhaben, dass sie den einzel- und gruppenmusiktherapeutischen Prozess nicht beeinträchtigt
-
mit Widerstand, Übertragung und Gegenübertragung umzugehen und die therapeutische Haltung des parziellen Engagements zu beherrschen
Fachprüfung
Zum Abschluss der Mittelstufe findet eine Zwischenprüfung statt, in welcher der Weiterbildungskandidat eingehende Kenntnisse der theoretischen und methodischen
Grundlagen der Integrativen (Musik)Therapie, ihrer Konzepte und des im allgemeinen Theorieprogramm vermittelten Wissens nachweisen muss. Die Fachprüfung ist
öffentlich und wird als Einzel- oder Gruppenprüfung (bis zu drei Kandidaten) von zwei Beauftragten des Weiterbildungsausschusses und einem fortgeschrittenen
Weiterbildungskandidaten als Beisitzer durchgeführt. Die Prüfungsdauer beträgt 45 Minuten. Das Ergebnis kann lauten "bestanden" oder "nicht bestanden". Bei dieser
Entscheidung hat der Beisitzer volles Stimmrecht. Wurde die Zwischenprüfung nicht bestanden, so kann sie nach einer von den Prüfern festgesetzten Frist, frühestens
aber nach drei Monaten, wiederholt werden. Falls angezeigt, können die Prüfer besondere Auflagen machen. Gegen die Entscheidung der Prüfer kann über die Vertreter
der Weiterbildungskandidaten innerhalb eines Monats beim Prüfungsausschuss Einspruch eingelegt werden.
Die bestandene Fachprüfung ist Voraussetzung für die Zulassung zur Oberstufe bzw. zur Behandlungsstufe und zur Graduierung. Der
Weiterbildungskandidat erhält nach bestandener Fachprüfung ein Zertifikat.
IV. Elemente der Weiterbildung
Im folgenden sollen die einzelnen Elemente der Weiterbildung nach den formalen Bedingungen, Zielen, Inhalten und Methoden dargelegt werden.
IV. 1 Fortlaufende Selbsterfahrungs- und Weiterbildungsgruppe (360 Std.)
IV. 1.1. Form
Die Gruppe umfasst in der Regel bis zu 16 Teilnehmern. Sie wird als geschlossene Gruppe von einem Lehrtherapeuten bzw. einem autorisierten
Lehrbeauftragten, ggf. mit Co-Therapeuten, geführt. Die Gruppe tagt mindestens fünfmal jährlich jeweils drei Tage. Insgesamt müssen 360 Std. in dieser Gruppe
absolviert werden. Diese Mindestzahl kann, so weit für die Weiterbildungssituation und Entwicklung der Gruppe erforderlich, verlängert werden.
Im letzten Drittel der Weiterbildung erfolgt in der Regel ein Therapeutenwechsel, so dass ein Drittel der Zeit bei einem zwei ten Lehrtherapeuten bzw. beauftragten absolviert wird. Dem jeweiligen Lehrtherapeuten obliegt die Betreuung in der von ihm geleiteten Gruppe.
IV. 1.2. Ziele der fortlaufenden Gruppe
Die fortlaufende Selbsterfahrungs- und Weiterbildungsgruppe hat zum Ziel, den Weiterbildungskandidaten über einen Zeitraum von ca. drei Jahren die therapeutische
Arbeit an eigenen aktualen und biografischen Problemen im Rahmen einer Gruppe in einem kontinuierlichen Prozess zu vermitteln und die Dimensionen des eigenen
Unbewussten zu explorieren. Damit ist das Erleben der Integrativen Musiktherapie in praxi verbunden. Auf Grund dieser Erfahrung kann eine psychotherapeutische
Grundhaltung erworben werden, die im persönlichen Wachstum auf der körperlichen, emotionalen, kognitiven und sozialen Ebene wurzelt und sich musikalisch
ausdrücken kann. Da Musiktherapie einen medialen Ansatz hat, ist es förderlich, dass der Weiterbildungskandidat nicht nur musikalisch, sondern überhaupt in seiner
Kreativität gefördert und dass sein ästhetisches Wahrnehmungsvermögen geschult wird. Daher wird Wert darauf gelegt, das Leibbewusstsein zu entwickeln. Musik,
Bewegung und leibliches Erleben gehören in der Musiktherapie aufs Engste zusammen.
Das Wachstum und die Entfaltung der eigenen Möglichkeiten im sozialen und ökologischen Kontext ist ein zentrales Anliegen der Weiterbildung. Ein
Therapeut ist selbst das wesentlichste Instrument der Therapie und die Musik, die entsteht, ist gewissermaßen die musikalische Gestaltung dessen, was dieses
Instrument in der Beziehung zum Gegenüber wahrnimmt und ausdrückt. Deshalb muss der musiktherapeutischen Aufarbeitung der bewussten und unbewussten
Konfliktdynamik des Weiterbildungskandidaten, der Entwicklung seiner persönlichen Integration und Integrität, seiner personalen Kompetenz und Resonanzfähigkeit sowie
seiner musikalischen Empathie- und Ausdrucksfähigkeit die größte Bedeutung im Rahmen der Weiterbildung zugemessen werden.
Als weitere Ziele sind zu nennen: Erleben der eigenen Veränderungs- und Integrationsprozesse, differenzierte Handhabung sozialer Situationen (soziale
Kompetenz und Performanz), theoretische Reflexion interaktioneller und intrapsychischer Prozesse sowie deren musikalischer Äquivalente, Erlernen musiktherapeutischer
Methoden und Techniken auf der Basis von Selbsterfahrung innerhalb des therapeutischen Prozesses, die erlebnisnah als therapeutisches Repertoire verinnerlicht
werden sollen (professionelle Kompetenz und Performanz), Anwendung des Gelernten im persönlichen und weiteren sozialen Umfeld, Reflexion des persönlichen
"sozialen Engagements".
IV. 1.3. Weiterbildungsinhalte und -methoden in der fortlaufenden Gruppe
Eingangsphase (1. Jahr)
In der Eingangsphase der fortlaufenden Weiterbildungsgruppe steht die Selbsterfahrung im Mittelpunkt der Arbeit. Sie vollzieht sich in personzentrierten,
gruppenorientierten und gruppenzentrierten Prozessen. Das Erleben musiktherapeutischer Interaktions - und Kommunikationsprozesse in der Gruppe stellt den Boden
oder Hintergrund für Einzelarbeiten sowie für spezifische einzel- und gruppenmusiktherapeutische Arbeiten dar. Am Ende der Eingangsphase zeigt jeder einzelne
Weiterbildungskandidat in der Gruppe auf kreative Weise zusammenfassend den gegenwärtigen Stand seiner persönlichen Entwicklung, der dann in der Gruppe
gemeinsam bilanziert und reflektiert wird. Die Eingangsphase umfasst 5 Wochenenden a 24 Ausbildungseinheiten.
Aufbauphase (2. Jahr)
In der Aufbauphase der fortlaufenden Gruppe erfolgt eine Intensivierung und Vertiefung der Selbsterfahrung zur Aufarbeitung bewussten und unbewussten
Konfliktmaterials. Es werden vermehrt Träume und musikalische Imaginationen einbezogen. Die Arbeit an Mechanismen wie Projektion, Retroflektion, Introjektion,
Anästhesierung und Konfluenz wird vertieft. Diese Mechanismen werden vor oder parallel zu ihrem "nur" psychologischen Erschei nen in ihren musikalischen
Ausdrucksformen erfahren. Projektives Material wird aufgegriffen und erlebniszentriert oder konfliktzentriert bearbeitet.
Wie schon in der Eingangsphase werden die im Gruppenprozess auftauchenden existenziell bedeutsamen Themen wie Kohärenz schaffen, Geborgenheit,
Autonomie, Umgang mit Aggression, Trauer, Abschied, Freude, Ressourcenarbeit, etc. aufgegriffen und mit den Methoden der IMT bearbeitet.
Die Grundlagen musiktherapeutischer Diagnostik und Hermeneutik und der musiktherapeutischen Bearbeitung von Gruppenprozessen, die Differenzierung der
Improvisationsfähig - und fertigkeiten, Arbeit am Leibe und mit der Stimme, Umgang mit Percussion und Klang sowie Erfahrungen mit anderen Bewusstse inszuständen
durch Musik nehmen größeren Raum ein. Die Reflexion des therapeutischen Prozesses, der Beziehung zur Gruppe und der Beziehung zum Außenfeld der Teilnehmer
wird intensiviert. Die Auswirkungen der Selbsterfahrung im täglichen Leben der Weiterbildungskandidaten werden in die Gruppenarbeit mit einbezogen.
Abschlussphase (3. Jahr)
In der Abschlussphase der fortlaufenden Weiterbildungsgruppe wird eine Verbindung von Selbsterfahrung, Theorie und eigener therapeutischer Arbeit
7[7]
hergestellt. Die Teilnehmer arbeiten miteinander in Triaden
oder Kleingruppen als Therapeuten und Klienten unter der Supervision des Lehrtherapeuten und üben,
differenzieren und erweitern ihre musiktherapeutischen Interventionsmöglichkeiten. In der theoretischen Reflexion des Geschehens werden im direkten Praxisbezug
gemeinsam Behandlungskonzepte der Integrativen Musiktherapie erarbeitet. In themenzentrierter Arbeit werden theoretische Fragestellungen diskutiert.
Besonderes Gewicht liegt auf dem musiktherapeutischen Umgang mit Prozessen der therapeutischen Beziehung, Resonanzphänomenen, Abwehr, Widerstand,
Übertragung, Gegenübertragung, mutuelle Empathie, Abstinenz, self-disclosure, skillful frustration, support sowie ihrer Erscheinungsformen im musikalischen Geschehen.
Die Handhabung der therapeutischen Tiefung und das Beherrschen von stützenden, strukturierenden oder regressionsfördernden musikalischen Improvisations - und
Spieltechniken bilden einen weiteren Schwerpunkt.
In der Abschlussphase beginnt die Ablösung vom Therapeuten und der Gruppe. Die Reflexion der Beziehung zum Therapeuten und zur Gruppe, der eigenen
Veränderung im Außenfeld sowie die Selbsteinschätzung der professionellen Potienziale und möglicher Arbeitsfelder stellen nochmal einen wichtigen Teil der Arbeit dar.
7[7]
Die Triadenarbeit wird in der Musiktherapie sonst auch als Inter-Therapie bezeichnet
IV. 2. Methodik- Praxis-Programm (450 Std.+/320 Std. *)
Ziel der Veranstaltungen ist es, in den Pflicht-, Wahlpflicht- und freien Seminaren Theorie im unmittelbarem Praxisbezug zu lehren. Themen, die in der
Selbsterfahrungs- und Weiterbildungsgruppe im eigenen Erleben und im Gruppenprozess bereits Gegenstand waren, werden hier geordnet aufgegriffen und vertieft. Die
Seminare werden durch einschlägige Literatur von den Teilnehmern vorbereitet, so dass die theoretischen Vorkenntnisse in die Aufarbeitung der Prozesse integriert
werden können. Die philosophisch-anthropologischen, persönlichkeitstheoretischen, psychopathologischen sowie die methodischen und behandlungstechnischen
Grundlagen der Integrativen Musiktherapie sollen auf diese Weise erlebnisnah vermittelt werden.
IV. 2.1. Musik - Bewegung - Therapie (40 Std.)
In diesem Seminar sollen tragende Grundkonzepte der IMT wie "Leiblichkeit " und "Kreativität"
in ihrer Bedeutung für die IMT erlebbar und reflektiert werden. Dabei wird gleichzeitig ein breites
Repertoire musik- und bewegungstherapeutischen Handwerkszeugs vermittelt und im Hinblick auf ihre
Effektivität und Anwendbarkeit erprobt (z.B. Spielen aus der Bewegung; der Körper als Instrument; der
impressive und expressive Leib in seiner Verbindung zu Atem, Bewegung und Musik; Emotionen Bewegung - Klang; ...)
IV. 2.2. Musik und funktionelle Entspannungsverfahren (24 Std.)
Dieses Seminar legt den Focus auf die Verbindung von Entspannungsverfahren nach dem Ansatz der "Integrativen und differenziellen Relaxation" IDR (insbesondere
muskuläres Entspannungstraining, respiratorische und mentale Entspannungsmethoden) mit musikalischen und musiktherapeutischen Methoden der aktiven und
rezeptiven Musiktherapie. Anhand praktischer Übungen werden Definitions- und Repertoirehilfen für den Umgang mit Musik in der Entspannungsarbeit bzw.
Tiefenentspannung vermittelt, wobei auch der Frage nachgegangen wird, auf welche Weise IMT stressphysiologisch in Richtung Wellnessphysiologie (z.B. der
Schmerztherapie) wirksam ist.
IV. 2.3. Musiktherapeutische Stimmarbeit (40 Std.)
In diesem Seminar wird das körpereigenste Instrument, die Stimme (und damit der Atem), zum Zentralmedium. Ein Wiederentdecken des Si ngimpulses und
das Aufschließen des Singvermögens wird angestrebt. Die Arbeit an der Stimme beinhaltet aufdeckende biografische Arbeit, temporäre Regression und emotionale
Tiefung, aber auch Erweiterung des leiblichen und künstlerischen Erlebens und Handelns.
IV. 2 .4. Musik, Traum und Imagination (40 Std.)
Musik, Traum und Imagination haben strukturell vieles gemeinsam und die musiktherapeutische Bearbeitung von Träumen und musikevozierten Imaginationen ist eine der
Spezifika integrativ-musiktherapeutischen Handelns. Träume und Imaginationen werden mit rezeptiven und aktiven Methoden der Musiktherapie induzier t und bearbeitet,
darunter auch im Verbund mit entspannungstherapeutische, musikpsychodramatischen oder gestaltmusiktherapeutischen Techniken der Aufarbeitung. Themen des
Seminars sind die Auseinandersetzung mit Musik als Symbolsprache, mit musikalischem katathymen Bild- und Klangerleben, mit Arbeit an Mythen und mit Märchen über
das Medium Musik. Einen Schwerpunkt des Seminars bildet dabei die Auswahl und der Einsatz von klassischen und modernen Musikstücken zu bestimmten
therapeutischen Zwecken.
IV. 2.5. Diagnostik (Erstinterview und prozessuale Diagnostik) (40 Std.)+
Dieses Seminar soll in die Technik des Erstinterviews und in die prozessuale Diagnostik einführen. Es
sollen neben biografischen Daten auch die korrespondierenden Gefühle, Verhaltensweisen, unbewussten
Konflikte, Störungen, Traumata und Defizite erfasst werden. Die Strukturierung von Erstgesprächen, die
Methodik der Exploration und Anamneseerhebung bei verschiedenen Klienten sowie die Grundlage einer
integrativen prozessualen Diagnostik werden vermittelt und von den Teilnehmern praktiziert. Die
diagnostische Bedeutung der Körpersprache und des stimmlichen Ausdrucks und der projektiven
Gestaltung in kreativen Medien stellen weitere Schwerpunkte dar. Zielsetzung ist, differenziert mit jedem
Patienten von den Phänomenen ausgehend die lebensbestimmenden Szenen, Strukturen und Entwürfe
heraus zuarbeiten. Die hier erlernten Techniken werden vom Weiterbildungskandidaten in der
Ausbildungsgruppe und in anderen Seminaren in musiktherapeutischer Hinsicht differenziert.
IV. 2.6. Musiktherapeutische Diagnostik und Hermeneutik (32 Std.)
Dieses Seminar führt im Sinne prozessualer Diagnostik in die spezielle musiktherapeutische
Diagnostik und Hermeneutik ein. Die aus dem Gruppenprozess und aus Partnerspielen entstandenen freien
musikalischen Improvisationen werden phänomenologisch beschrieben und in Bezug auf psycho- und
gruppendynamische Strukturen hermeneutisch gedeutet. Der Sinn dieses Seminars ist es,
musiktherapeutische Improvisationen als Ausdruck bewusster und vor allem unbewusster psychischer und
sozialer Strukturen wahrnehmen, erfassen, verstehen und erklären zu lernen (Kontaktformen,
Abwehrmechanismen und Widerstände in den therapeutischen Improvisationen zu erkennen). Ein
Schwerpunkt liegt dabei auch auf der qualitativen Analyse der musikalischen Phänomene mit Hilfe
kombinierter (entwicklungs-)psychologischer und musikwissenschaftlicher Methoden. Das Seminar gibt
damit auch eine Einführung in die "Hermeneutik des Nichtsprachlichen".
IV. 2.7. Methoden der IMT (32 Std.)
In diesem Seminar werden Methoden, Techniken und Interventionsmöglichkeiten für die
übende (entwicklungsstimulierende), erlebniszentrierte und konfliktzentrierte Arbeit mit Patienten in
den verschiedenen Wegen der Heilung vermittelt. Das Material wird im prozessorientierten Einsatz
vermittelt und umfasst u.a. die Funktionen des Spielens und die musikalische und improvisatorische
Interventionslehre bei Indikationen für aktive Musiktherapie, die Herstellung von und der Umgang mit
Musikprogrammen bei Indikationen für rezeptive Musiktherapie, die Arbeit mit Musikinstrumenten als
Übergangs- und Intermediärobjekte sowie die intra- und intermediale Arbeit mit auch anderen Medien
wie Bild, Skulptur, Theater, Sandkasten, u.a..
IV.2.8.Krisenintervention (40 Std.)
Dieses zweigübergreifende Seminar setzt ausreichende Selbsterfahrung, eigene therapeutische Praxis und das Seminar Diagnostik (prozessuale Diagnostik
und Erstinterview) voraus. Es finden drei Aspekte besondere Berücksichtigung: 1. Krisen des Therapeuten, 2. Krisen des Patienten/Klienten, 3. Krisen von Gruppen. Das
Erkennen von krankhaften Entwicklungen und das Durcharbeiten von Krisen soll in der Praxis vermittelt und theoretisch fundiert werden. Besonderes Gewicht wird auf das
Einüben und Handhaben von Techniken der Krisenintervention (Realitätstraining, Talk-down, innere Beistände, innere Distanzierung, etc.) und das Erleben und
Verarbeiten eigener krisenhafter Zustände gelegt. Das Seminar dient auch dazu, die Grenzen musiktherapeutischer Interventionen aufzuzeigen.
IV. 2.9. Gruppenprozessanalyse (40 Std.)
In diesem zweigübergreifenden Seminar liegt der Schwerpunkt auf dem Erkennen und Handhaben von gruppendynamischen Phänomenen und Prozessen.
Verschiedene Prozessphasen in der Gruppenentwicklung mit ihren spezifischen Möglichkeiten und Schwierigkeiten für die therapeutische Arbeit werden sichtbar gemacht
und theoretisch aufgearbeitet. Da Musik immer soziales Ereignis ist und musikalische Gruppenprozesse leicht in konfluente Situationen oder archaische Erlebensbereiche
führen, soll der Weiterbildungskandidat der Gruppenentwicklung besondere Beachtung schenken lernen. Ein weiteres Lernziel ist der bewusste Umgang mit sozialen
Rollen in ihrem Entstehungs- und Veränderungsprozess, ihre Funktion und positiven und negativen Auswirkungen auf Individuum und Gruppe. Grundlegend
therapeutische Interventionstechniken und -strategien zur gezielten Steuerung eines Gruppenprozesses werden von den Teilnehmern in direkter Arbeit erprobt und geübt.
IV. 2.10. Wahlpflichtseminare (60 - 80 Std.)
Der Weiterbildungskandidat soll im Laufe der vier Weiterbildungsjahre Wahlpflichtfächer nach eigener Wahl absolvieren. Es stehen 6 übergreifende Fächer mit
verschiedenen Schwerpunkten zur Wahl. Das Angebot Wahlpflichtfächer wird dabei nach Möglichkeit den jeweiligen Bedürfnissen der Ausbildungsgruppen angepaßt und
durchgeführt.
IV. 2.10.1. Einführung in klinische Arbeitsfelder der Integrativen Musiktherapie
(z.B.: MT in der Psychiatrie; MT in der Psychosomatik; MT in der Rehabilitation; MT in der Geriatrie, MT mit Kindern und Jugendlichen)
In diesem Seminartyp geht es um die Vermittlung von Kenntnissen über die klinischen Arbeitsfelder der Musiktherapie. Es soll Grundwissen über
psychiatrische, psychosomatische und neurotische Krankheitsbilder und deren musiktherapeutische Behandlungsmöglichkeiten erworben werden, ferner
über klinisch-musiktherapeutische und musikpsychotherapeutische Ansätze in der Arbeit mit Patienten in der Rehabilitation, mit geriatrischen Patienten sowie
im Bereich der Kinder- und Jugendlichenarbeit. Das umfassende Lernprogramm wird schwerpunktsmäßig auf die beruflichen Bedürfnisse der
Weiterbildungskandidaten abgestimmt.
IV. 2.10. 2. Integrative Musiktherapie als spezielle Indikation
(z.B.: IMT bei frühen Schädigungen; IMT bei Eßstörungen; IMT bei sexuellem Missbrauch; IMT mit geistig behinderten Menschen; IMT bei Menschen mit
eingeschränkter Sprachfähigkeit; MT mit alten Menschen, mit unheilbar Kranken; IMT bei drogengefährdeten und -abhängigen Menschen; IMT bei
Schmerzpatienten; IMT mit Jugendlichen, etc.)
Dieser Seminartyp vermittelt eine Einführung in die wichtigsten Fragestellungen zur Indikation. Besonderes Gewicht wird auf den
unterschiedlichen Einsatz integrativer Musiktherapie bei frühen Schädigungen, bei Eßstörungen, sexuellem Missbrauch, Depressionen, psychosomatischen
Krankheitsbildern, geistigen Behinderungen, usw. Es geht auch darum, die Grenzen der Musiktherapie aufzuzeigen. Diese Seminarart kann je nach
beruflichen Stand und Bedürfnissen der Weiterbildungskandidaten jeweis ein Thema vertieft vermitteln.
IV. 2.10.3. Einführung in heil- und sonderpädagogische und andere psychosoziale Arbeitsfelder der Integrativen Musiktherapie
(z.B. IMT in der Sonderpädagogen; IMT in der Erziehungsberatung; IMT im Gefängnis; IMT mit Arbeitslosen; IMT in der Projektarbeit mit sozialen
Randgruppen; IMT und Einzelfallhilfe; u.a.)
Dieser Seminartyp ist vor allem für den Zweig Klinische Musiktherapie gedacht und will mit den Arbeitsfeldern und ihrem Problemstellungen
vertraut machen. Themen wie Führen von Elterngesprächen, Zusammenarbeit mit dem Jugendamt, mit dem sozialpsychologischen Dienst, die besondere
Problematik der Arbeit mit Inhaftierten, etc. soll so vermittelt werden, dass die Grundlage gelegt wird, adäquate musiktherapeutische Strategien zu
entwickeln, auch zur Planung, Vorbereitung und Durchführung von psychosozialen Projekten. Diese Art Seminare können jeweils einen Schwerpunkt bzw.
ein Arbeitsfeld besonders vertieft behandeln.
IV. 2.10.4. Spezielle musiktherapeutische Methoden
(z.B. Allgemeine musiktherapeutische Improvisationstechniken; Klavierimprovisation; Rhythmik in der
IMT; Rezeptive Musiktherapie; Vom musiktherapeutischen Umgang mit Musikinstrumenten;
musiktherapeutische Trauerarbeit; Selbsterfahrung mit dem Medium Bach'scher Instrumental- und
Kantatenmusik; das MLP: Musikalische Lebenspanorama; u.a.)
Dieser Seminartyp will auf spezielle Methoden der IMT eingehen, die in dem Pflichtseminar
"Musiktherapeutische Methoden" nicht behandelt werden konnten, darunter der große Bereich der
musikalischen Grundlagen der musiktherapeutischen Improvisation, Einsatz von Übungen aus der
Rhythmik innerhalb Formen übender Musiktherapie; Formen der rezeptiven Musiktherapie oder
Instrumentenkunde und -spiel unter musikalisch-therapeutischen Gesichtspunkten; Arbeit mit dem
MLP zur Diagnostik und Erhebung musikalischer Anamnesen; spezielle methodische Zugänge bei
Trauerprozessen. Der Seminartyp kann den Schwerpunkt jeweils auf eine Methode legen.
IV. 2. 10.5. Einführung in andere musiktherapeutische Verfahren (Methodenvergleich)
(z.B. Einführung in die Nordoff/Robbins-Musiktherapie; Einführung in die Morphologische MT,
Einführung in die Analytische MT; Einführung in GIM (Guided Imagery and Music); Einführung in die
verhaltenstherapeutische MT; Einführung in die Regulative Musiktherapie; Einführung in die
entwicklungspsychologisch fundierte MT.
Dieser Seminartyp soll den Horizont der Weiterbildungskandidaten für andere etablierte
musiktherapeutische verfahren erweitern. Um den Stellenwert der eigenen Methode besser erfassen
und vertreten zu können, soll der Kandidat Vergleichsmöglichkeiten erhalten, indem er bei
Gastdozenten deren Verfahren theoretisch, methodisch und über Selbsterfahrung vermittelt
bekommt. Dieses Seminar kann den Schwerpunkt jeweils auf ein Verfahren legen.
IV. 2. 10.6 Durchführung von Einzel- und Gruppenmusiktherapien
In diesem Seminar für Fortgeschrittene hat verschiedene musiktherapeutische Ansätze für Einzel- und Gruppentherapien als mittelfristig oder langfristig
ausgerichtete Behandlungen zum Thema, sowie die spezifischen methodischen und behandlungstechnischen Probleme. Thematisiert werden aus der Sicht
verschiedener Musiktherapie-Schulen die musiktherapeutische Inizialsituation, Umgang mit Übertragung und Gegenübertragung, Widerstand, Regression
durch Musik, Krisen wie Stagnation oder Labilisierung, Abbruch der Therapie, ferner Abschluss und Ablösung.
IV. 3 Theorieprogramm (240 Std.)
Im Theorieprogramm sollen die für qualifiziertes psychotherapeutisches und klinisch-agogisches Handeln erforderlichen Kenntnisse vermittelt werden. Dabei wird im Sinne
des Integrativen Ansatzes auf eine breite, am sog. "Tree of Science" orientierte Grundlage Wert gelegt.
IV.3. 1. Allgemeiner Teil
Theoretische Grundlagen der Psychotherapie (ca 85 Std., 1.-3. Weiterbildungsjahr).
3.1.1. Metatheorie des Integrativen Ansatzes
-
Erkenntnis und Wissenschaftstheorie (Phänomenologie und Hermeneutik)
-
Kosmologie (Lebensweltkonzept)
-
Anthropologie (Leib-Seele-Problem)
-
Gesellschaftstheorie
-
Ethik in der Psychotherapie und Musiktherapie
-
Ontologie
3.1.2. Allgemeine Theorie der Psychotherapie
-
Vergleichende Psychotherapie (Theorie und Methodik der Psychoanalyse;
-
Theorie und Methodik der Kommunikations- und Familientherapie)
-
Persönlichkeitstheorien, insbesondere der Integrativen Therapie, der Gestalttherapie und der Psychoanalyse
-
Entwicklungstheorien, Entwicklungspsychologie (psychoanalytische, neuromotorische, kognitive Ansätze, Konzepte zur Sprachentwicklung, zur Symbolentwicklung
und zur musikalischen Entwicklung)
-
Sozialisationstheorien (auch musikalische), Rollenübernahme, Rollenspiel
-
Konzepte der Gestaltpädagogik bzw. Integrativen Agogik
-
Konzepte psychoanalytischer Pädagogik
IV.3.2. Spezieller Teil
Theoretische Grundlagen Integrativer Musiktherapie (85 Std., 2.bis 5.Weiterbildungsjahr)
3.2.1. Spezielle Theorie der Psychotherapie
-
Gesundheits- und Krankheitslehre
-
Psychopathologie und Grundfragen der Psychiatrie, psychiatrische Kasuistik, Psychopharmakologie
-
Allgemeine und spezielle Neurosenlehre der Integrativen Therapie,
-
Gestalttherapie und Psychoanalyse
-
Theorien der Psychosomatik
-
Konzepte der Psychodiagnostik, psychologische Tests, musiktherapeutische Diagnostik
-
Grundlagen tiefenpsychologischer Charakterologie
-
Konzepte des Unbewussten
-
die Bedeutung von Musik, Traum, und Imagination für die therapeutische Praxis
-
Theorien der therapeutischen Beziehung (auch in der musiktherapeutischen Gruppen- oder Partnerimprovisation)
-
Übertragung, Gegenübertragung, Ko-respondenz, Resonanz
-
Widerstand und Abwehmechanismen (auch in der musiktherapeutischen Improvisation)
3.2.2. Praxeologie
-
Formen der Behandlung (Langzeit -, Kurzzeit -, Fokaltherapie)
-
Indikation und Kontraindikation
-
Theorie des therapeutischen Prozesses
-
Behandlungsbeginn, Behandlungsabschluss
-
Prozessverlauf in der Einzel- und in der Gruppentherapie
-
Gruppendynamik
-
Interventionslehre
-
Theorie der Methoden, Techniken und Medien
-
Praxisfelder und Zielgruppen der Musiktherapie
-
Beratung von Beziehungspersonen
-
Konzepte der Heilpädagogik
3.2.3. Spezielle Theorie der Musiktherapie
-
Geschichte der Musiktherapie
-
Schulen der Musiktherapie (psychodynamische, heilpädagogische, anthroposophische, andere)
-
allgemeine und spezielle Musiklehre für Musiktherapeuten
-
physiologische und psychologische Grundlagen der Musiktherapie (speziell: Sinnesphysiologie und Sinnespsychologie
- psychoanalytische, tiefenpsychologische und sozialwissenschaftliche Grundlagen der MT
- grundsätzliche Probleme musiktherapeutischer Hermeneutik
-
spezielle musiktherapeutische Behandlungs- und Interventionslehre
Die einzelnen Bereiche werden durch Literaturstudium erarbeitet bzw. in Vorlesungen und Seminaren vermittelt, die von den Regionalinstituten
oder vom Zentralinstitut veranstaltet werden. Im Rahmen des Theorieprogramms muss bis zum Abschluss der Weiterbildung ein qualifizierter Vortrag auf
einer Tagung, im Rahmen eines Regionalinstituts oder einer Gruppenveranstaltung gehalten werden, dessen Manuskript zur Graduierung vorliegen soll.
Nach Abschluss des dritten Jahres findet eine mündliche Fachprüfung statt.
Unmittelbar mit Beginn der Weiterbildung schließt sich der Weiterbildungskandidat einer regionalen Theorie-Arbeitsgruppe sowie einer regionalen
musiktherapeutischen Lern-, Spiel- und Arbeitsgruppe an. Diese werden von den Teilnehmern selbst organisiert und im FPI -Sekretariat registriert.
IV. 3.3. Theoretische Grundlagen I (24 Std.)
In diesem Seminar sollen die theoretischen Grundlagen der Integrativen Therapie und ihrer Quellen erarbeitet werden. Besondere Schwerpunkte bilden
folgende Themen: philosophischer Hintergrund, Philosophie des Leibes, anthropologische Konzepte, gesellschaftspolitische Relevanz therapeutischer Arbeit,
Gesundheits- und Krankheitsbegriff, Selbstverständnis des Therapeuten, therapeutisches Verhalten, therapeutische Beziehung. Das Seminar wird durch das Studium von
Texten vorbereitet.
IV. 3.4. Theoretische Grundlagen II (24 Std.)
Dieses Seminar ist speziell auf die Belange der therapeutischen Praxis abgestimmt. Es befasst sich mit der Methodik und Technik der Behandlung. Folgende
Schwerpunkte werden durcharbeitet: Struktur des therapeutischen Settings, Behandlungsbeginn in Einzel- und Gruppentherapie, Behandlungsabschluss,
Ablösung, Trauerarbeit, Verlauf des therapeutischen Prozesses, Schwierigkeiten im therapeutischen Prozess, Indikation, Anwendungsgebiete Integrativer
Therapie und Musiktherapie, Interventionstechnik, Theorie therapeutischer Techniken.
IV. 3.5. Theoretische Grundlagen III
Theorie der Integrativen Musiktherapie (24 Std.)
Dieses Seminar greift die Themen der vorhergegangenen Theorieseminare unter besonderer
Berücksichtigung der spezifisch musiktherapeutischen Gegebenheiten auf. Folgende Teilgebiete
werden erarbeitet: Metatheorien der Musiktherapie, erkenntnistheoretische Probleme der
Musiktherapie,
Ästhetische
Theorien
und
ihre
Bedeutung
für
die
Musiktherapie,
musiktherapierelevante Themen der Musikpsychologie und -soziologie (z.B. Grundlagen der
Musikrezeption,
persönlichkeitstheoretische,
kommunikationstheoretische
und
entwicklungspsychologische Konzepte der Musiktherapie), musiktherapeutische Prozessmodelle,
Grundlagen musiktherapeutischer Interventionen, ferner soll ein Überblick über Verfahren zur
Evaluation und Dokumentation musiktherapeutischer Prozesse vermittelt werden. Darüberhinaus wird
ein Einblick in relevante musiktherapeutische Forschung gegeben.
IV. 3.6. Ergebnisse der Therapieforschung (24 Std.)
Ergebnisse der Forschung zur Kinder-, Einzel-, Gruppen- und Familientherapie werden
vorgestellt und hinsichtlich ihrer Bedeutung für die therapeutische Arbeit gewürdigt. Methoden der
Effektivitätsforschung und Strategien von Einzelfallstudien werden diskutiert und als Anregungen für
die tägliche therapeutische Arbeit vorgestellt. Auf dem Hintergrund der Veränderungen rechtlicher
Bedingungen und Kostenberechnungsmodalitäten werden Perspektiven für die Praxis entwickelt. Das
Seminar ist für alle therapeutischen Ausbildungsgänge am Institut verpflichtend
IV. 3.7. Psychopathologie I (24 Std.)
Dieses Seminar ist für all diejenigen Weiterbildungskandidaten, die in ihrer Vorausbildung
keine Kenntnisse der Psychopathologie erworben haben. Für TeilnehmerInnen der kunst - und
kreativitätstherapeutischen Zweige ist dieses Seminar Pflichtfach. In kompakter, praxisnaher Form
werden die wichtigsten psychiatrischen Erkrankungen und psychopathologischen Erscheinungsbilder
vorgestellt, um ein Verständnis für klinische und therapeutische Fragestellungen zu eröffnen. Das
Seminar wird durch Textstudien vor- und nachbereitet.
IV. 3.7. Psychopathologie II (24 Std.)
Dieses Seminar dient der Vertiefung und Erweiterung der Kenntnisse über den psychopathologischen
Befund, dem Verständnis der psychiatrisch-psychotherapeutischen Krankheitslehre und klinischer
Behandlungsstrategien. Vorausgesetzt wird die Teilnahme an dem Seminar Psychopathologie I.
IV. 4. Intensivseminar (160 Std.+/ 80 Std.)
Es müssen ein (bzw. zwei im psychotherapeutischen Zweig) 10-tägige Intensivseminare absolviert werden: eines mit integrativ- und gestalttherapeutischer
und eines mit musiktherapeutischer Orientierung. Im klinisch-musiktherapeutischen Zweig muss nur ein musiktherapeutisches Intensivseminar absolviert werden.
IV. 4.1. Intensivseminar für Integrative Therapie/Gestalttherapie (80 Std.)+
Das Intensivseminar will in Anlehnung an das Konzept des Gestaltkibbuz von F.S. Perls das Setting einer Therapie- und Lerngemeinschaft bereitstellen.
Wegen der besonderen Bedeutung von Methoden der Gestalttherapie für die Aufarbeitung der in der Integrativen Musiktherapie aufkommenden Materialien ist eine über
einen längeren Zeitraum vertiefende Selbsterfahrung und Kenntnis dieser Methode erforderlich.
IV. 4.2. Intensivseminar Musiktherapie (80 Std.)
Das Intensivseminar soll die Möglichkeit geben, über einen längeren Zeitraum mit konfliktzentrierter, erlebniszentrierter und übungszentrierter Musiktherapie
und ihrer Methodik in Selbsterfahrung, Theorie und Praxis umzugehen.
IV. 5. Lehrtherapie
IV. 5. 1 Einzelmusiktherapie (ca 60 Std+./60 Std.*; 1. und 2. Weiterbildungsjahr)
Der Weiterbildungskandidat kann Einzelmusiktherapie bei Lehrmusiktherapeuten erfahren, die vom FPI und dem Berufsverband der Musiktherapeuten und
Musiktherapeutinnen (BVM e.V.) für die Durchführung einer solchen Eigentherapie empfohlen sind. Diese Lehrmusiktherapeuten müssen nicht vom FPI sein. Im Zentrum
steht die Entwicklung der musikalischen Durchlässigkeit und Schwingungsfähigkeit, das Lösen von Ängsten auf Grund einer beengenden musikalischen Sozialisation.
Schwerpunkt ist die erlebniszentrierte und übungszentrierte Arbeit.
IV.5. 2. Lehranalyse/Lehreinzeltherapie (ca 200 Std+./ ca 100 Std.* im 2. bis 5. Weiterbildungsjahr)
Besondere Bedeutung in der Weiterbildung kommt der eigenen Analyse als "dyadischer Therapie" in Form integrativer Einzelbehandlung in der Tradition der
aktiven Psychoanalyse von S. Ferenczi zu. Diese Lehranalyse/-therapie ist immer zugleich auch ein therapeutisches Geschehen. Es wird die Auffassung zu Grunde
gelegt, dass nur derjenige langfristige therapeutische Prozesse angemessen handhaben kann, der selbst einen solchen Prozess durchlaufen hat. Die Lehranalyse/therapie kann nur bei einem von FPI anerkannten Lehrtherapeuten absolviert werden.
Die Lehranalyse + wird zur Hälfte bei einem männlichen Lehrtherapeuten und zur Hälfte bei einem weiblichen Lehrtherapeuten absolviert. Die Lehrtherapie*
wird bei einem anerkannten Lehrbeauftragten oder -therapeuten durchlaufen und zwar bei einem weiblichen, wenn die Einzelmusiktherapie bei einem Mann absolviert
wurde, bzw. umgekehrt.
IV. 5. 3. Integrierte musiktherapeutische Lehranalyse bzw. -therapie (260 Std./160 Std.)
Eine Möglichkeit, integrativtherapeutische und musiktherapeutische Analysen bzw. Eigentherapien zu verbinden, ist die integri erte Form. Sie sollte zur Hälfte bei einem
männlichen und bei einem weiblichen Therapeuten absolviert werden. Die integrierte Lehranalyse/-therapie kann nur bei Integrativen Lehrmusiktherapeuten bzw. - für
integrativ-musiktherapeutische Lehranalysen/-therapien beauftragte Lehrbeauftragten/-therapeuten des FPI absolviert werden.
IV. 6. Praxis- und Supervisionsprogramm
Das Praxis- und Supervisionsprogramm setzt eigene therapeutische Tätigkeit voraus. Vor dem 3. Weiterbildungsjahr sollen die Weiterbildungskandidaten
jedoch nicht selbstständig mit Integrativer Musiktherapie beginnen. Mit der Zulassung zur Oberstufe bzw. zur Behandlungsstufe kann der Weiterbildungskandidat mit
eigener praktischer Tätigkeit beginnen, sofern er von seinem Prozess her dazu bereit und befähigt ist. Es müssen für den Beginn der Arbeit mit Patienten die
befürwortenden Stellungnahmen seiner Lehrtherapeuten und die Fachprüfung vorliegen und der Kandidat muss einen Platz in einer fortlaufenden Supervisionsgruppe
und/oder bei einem Kontrolltherapeuten haben, um zur Behandlungstätigkeit zugelassen zu werden. Das Praxis- und Supervisionsprogramm hat zum Ziel, den
Weiterbildungskandidaten in den Anfängen eigener Behandlungstätigkeit zu begleiten und ihm Hilfestellung zu geben.
Erste Schritte werden in der Abschlussphase der fortlaufenden Weiterbildungsgruppe, dem Intensivseminar und im Seminar Supervision I unternommen. Der
Schwerpunkt liegt jedoch bei der Kontrollanalyse bzw. den Kontrollstunden, die eine kontinuierliche Begleitung der Behandlung bestimmter Patienten gewährleisten sowie
in einer fortlaufenden Supervisionsgruppe, die den Kandidaten klinische Vielfalt eröffnet und die Möglichkeit, ihre Erfahrungen in der Gruppen- und Einzelarbeit unter
begleitender Supervision zu sammeln. Vier Aspekte werden berücksichtigt:
1. Supervision der therapeutischen Haltung
2. Supervision des therapeutischen Prozesses
3. Supervision der therapeutischen Technik
4. Vermittlung theoretischer Konzepte zu 1 -3
IV. 6. 1. Fortlaufende Supervisionsgruppe (60 Std.)
Im dritten Jahr werden für die Weiterbildungskandidaten fortlaufende regionale Supervisionsgruppen eingerichtet. Sie arbeiten nach dem Prinzip der gemeinsamen
Kompetenz (joint competence) unter Leitung eines Lehrbeauftragten. Die Gruppe trifft wöchentlich, mindestens aber 14-tägig zu einer zweistündigen Sitzung zusammen.
In Ergänzung der Kontrollanalyse bzw. der Kontrollstunden, die auf die kontinuierliche Begleitung von vier Fällen ausgerichtet ist, bietet die Supervisionsgruppe die
Möglichkeit, eine Vielfalt von Situationen, Krankheitsbildern und therapeutischen Problemen vorzustellen und kennenzulernen.
IV. 6. 2. Supervision I (Methodik) (40 Std.)
Dieses Supervisionsseminar hat zum Ziel, die eigene musiktherapeutische Arbeit, die die Weiterbildungskandidaten ab der Oberstufe beginnen,
vorzubereiten und Kontrollmöglichkeiten zur Verfügung zu stellen. Die Teilnehmer arbeiten im Beisein des Therapeuten miteinander und/oder mit Patienten/Klienten.
Aufbau und Strukturierung musiktherapeutischer Gruppenarbeit wird von den Teilnehmern erarbeitet und diskutiert. Die Sitzungen werden im Anschluss mit der Gruppe
durchgearbeitet. Gegebenenfalls greift der Supervisor unmittelbar in die Arbeit des als Therapeut fungierenden Kandidaten ein, um Korrektive zu setzen oder um mit
Blockierungen des "Therapeuten" zu arbeiten. Zu allen Supervisionsseminaren werden so weit möglich, audiovisuelle Hilfsmittel sowie Simulation durch Rollenspiel
eingesetzt.
IV.6.3. Supervision II (Kasuistik) (40 Std.)+
In diesem Seminar werden Probleme aus der musiktherapeutischen Praxis der Teilnehmer mit Hilfe von musik- und integrativtherapeutischen Methoden,
Rollenspielen, Live-Supervision und Bandsupervision durchgearbeitet. Weiterhin wird die direkte musiktherapeutische Arbeit der Teilnehmer untereinander und mit
Patienten supervidiert. Insbesondere wird auf die Handhabung von Prozessen auf den verschiedenen Stufen der therapeutischen T iefung Wert gelegt. Fragen der
Indikation und spezifischer Behandlungstechnik werden anhand der supervidierten Fälle erörtert.
IV. 6. 4. Kontrollierte Anamnesen (20 Std. +/10 Std.*)
Nach dem Seminar Diagnostik (Erstinterview und prozessuale Diagnostik) beginnen die
Weiterbildungskandidaten mit der Erhebung von allgemeinen und musiktherapeutischen Anamnesen, die
sie bei einem Lehrtherapeuten ggf. im Rahmen ihrer Kontrollanalyse/-stunden vorstellen und testieren
lassen. Musiktherapeutische Anamnesen beziehen sich auf die Erhebung von Informationen über die
musikalische musikalische Biografie. Diese wird vermittelt durch die Methode des MLP (Musikalisches
Lebenspanorama).
IV.6.5. Kontrollanalyse/Kontrollstunden (100 Std.+/50 Std.*)
Mit Zulassung zur Behandlungsstufe soll der Weiterbildungskandidat Kontrollfälle in Einzelsitzungen bei einem Lehrtherapeuten kontrollieren lassen
Schwierigkeiten, die sich aus dem therapeutischen Prozess ergeben, sollen kontinuierlich durchgearbeitet und eigene Anteile als solche erkannt und ausgesondert
werden. Auf die Handhabung der Gegenübertragung und des parziellen Engagements wird besonderer Wert gelegt. Ferner sollen die spezifisch musiktherapeutischen
Interventionen und Strategien theoretisch und methodisch auf Angemessenheit und Differenzierung durchleuchtet werden.
Über die Dauer der Kontrollanalyse/ -stunden entscheidet der Lehrtherapeut. Sie umfasst mindestens 100 + bzw. 50 * Stunden und ist nicht durch
Gruppensupervision zu ersetzen. Die dem Kandidaten übertragenen Behandlungen werden nach jeder 4. Sitzung dem Kontrollanalytiker vorgestellt.
IV. 6. 6. Kontrollierte Einzel- und Gruppentherapie
Kontrollierte Einzeltherapie für Musikpsychotherapeuten (400 Std.)
Der Weiterbildungskandidat muss für die Graduierung zwei erfolgreich abgeschlossene
Kurztherapien und zwei Langzeitbehandlungen von Männern und Frauen von insgesamt 400 Stunden
nachweisen.
Für die Kontrollfälle ist ein Behandlungsjournal zu führen. In Absprache mit dem zuständigen
Lehrtherapeuten werden Tonbandaufzeichnungen der musiktherapeutischen Improvisationen sowie vom
verbalen Teil der Aufarbeitung angefertigt und durchgesprochen. Eine Langzeittherapie ist in einem
ausführlichen Bericht zu dokumentieren.
6.5.1.2. Kontrollstunden für klinische Musiktherapeuten (200 Std.)
Hier sind 200 Stunden kontrollierte Einzeltherapie bei 50 Kontrollstunden erforderlich. Es müssen
drei Behandlungen kontrolliert werden. Der Schwerpunkt soll auf der Kontrolle übungszentrierter und
erlebniszentrierter musiktherapeutischer Arbeit liegen sowie auf dem Erkennen und Handhaben der
Grenzen zur psychotherapeutischen Arbeit im engeren Sinn.
6.5.1.3. Kontrollierte Gruppentherapie (60 Std./60 Std.)
Im 4. Weiterbildungsjahr sollen die Weiterbildungskandidaten als Co-Leiter in einer musiktherapeutischen Patienten- oder Selbsterfahrungsgruppe
mitarbeiten. Die Gruppe sollte nicht mehr als 10 -12 Teilnehmer haben und kontinuierlich über ca 20 Sitzungen von dreistündiger Dauer laufen, davon 1/2-1 Stunde für die
Vor- und Nachbesprechung. Diese Gruppenarbeit wird in der fortlaufenden Supervisionsgruppe und/oder in der Kontrollanalyse/-stunde begleitet.
IV. 7. Klinische Praktika
Im Laufe der Weiterbildung soll der Weiterbildungskandidat, so weit er nicht ohnehin beruflich im klinischen Rahmen tätig ist bzw. keine Möglichkeit hat, in Einrichtungen
mit musiktherapeutischen Abteilungen zu arbeiten, Praktika bei Musiktherapeuten in einer oder verschiedenen Kliniken absolvieren, um einen Einblick in die Praxis der
Musiktherapie zu erhalten und um ein breites Spektrum an Krankheitsbildern kennen zu lernen sowie um Erfahrungen zu sammeln, die helfen, die Inhalte des methodischpraktischen Weiterbildungsprogramms besser vorbereiten, einordnen und verarbeiten zu können. Die Praktika können in den musiktherapeutischen Abteilungen einer
psychiatrischen Klinik, eines Fachkrankenhauses, einer sozialpsychiatrischen Ambulanz oder in anderen Einrichtungen mit Patienten und Klienten, auch
Erziehungsberatungsstellen u. Ä. auf individuelle Absprachen hin absolviert werden. Eine Liste mit Praktikumsplätzen kann angefordert werden, darunter auch Plätze bei
Praktikumsanleitern mit Ausbildung in Integrativer Musiktherapie. Die Praktika sollten insgesamt mindestens drei Monate oder etwa 500 Stunden (Richtwert) umfassen.
Die Praktika werden im Studienbuch testiert. Von Praktika kann bei Nachweis entsprechender musiktherapeutischer Tätigkeit an einer klinischen Einrichtung teilweise oder
vollständig abgesehen werden.
IV. 8. Fortlaufende Fortbildung im künstlerischen Bereich
Es wird vorausgesetzt, dass die Weiterbildungskandidaten sich regelmäßig und kontinuierlich entsprechend ihren musikalischen Bedürfnissen, Interessen und ihren
Defiziten im künstlerisch-instrumentalen Bereich fortbilden. Der angehende Musiktherapeut sollte nicht nur sein Hauptinstrument beherrschen, sondern auch andere
Instrumente, die in seiner späteren musiktherapeutischen Praxis bedeutsam werden können, so erlernen, dass er sie therapeutisch wirksam einsetzen kann. Er soll
verschiedene Formen und Stile der instrumentalen Improvisation beherrschen, was eine gründliche Auseinandersetzung mit Harmonielehre, Rhythmusschulung,
Arrangement etc. erfordert. Gegebenenfalls ist ein Nachweis durch Vorlage einer Bescheinigung des privaten Musik- und Instrumentallehrers bzw. der jeweiligen
Musikschule zu erbringen. Bei Nachweis der geforderten musikalischen und improvisatorischen Kenntnisse, Fähigkeiten und Fertigkeiten kann von privatem Unterricht
abgesehen werden.
V. Abschluss der Weiterbildung und Graduierung
V. 1. Zulassung
Hat eine Weiterbildungskandidat alle vorgeschriebenen Teile der Weiterbildung durchlaufen, so kann er seine Zulassung zur Graduierung beim
Prüfungsausschuss des FPI beantragen. Folgende Unterlagen sind erforderlich:
-
Studienbuch mit den testierten Weiterbildungsteilen (Lehranalyse/Lehrtherapie, Seminare, Praktika, etc.)
-
zwei Gutachten (des Supervisors und des Kontrolltherapeuten)
-
erfolgreich abgelegte Fachprüfung
-
Graduierungsarbeit
-
Nachweis über 400+/200* kontrollierte Therapiesitzungen
-
Nachweis eines Fachvortrags
-
Behandlungsbericht über zwei/eine * Langzeittherapien (vgl. IV. 6.5.1.)
-
Nachweis über kontrollierte oder supervidierte Gruppenarbeit (60 Std.)
-
Nachweis über eingehende Kenntnisse in zwei weiteren, nicht tiefenpsychologisch orientierten Verfahren (vgl. I.1.5.3.)
Die eingereichten Unterlagen werden vom Prüfungsausschuss durchgesehen. Mit der Beurteilung der Graduierungsarbeit werden zwei Lehrtherapeuten bzw. -beauftragte
betraut. Eine/r davon soll LehrmusiktherapeutIn sein. Für das Kolloquium werden zwei Prüfer und ein Beisitzer bestellt. Einer davon soll ein/e LehrmusiktherapeutIn sein.
Neben der Prüfung der formalen Bedingungen, die für die Graduierung erforderlich sind, hat der Prüfungsausschuss für die Zulassung die persönliche Entwicklung und
Reife des Kandidaten zu berücksichtigen. Hier kommt den Gutachten seiner Supervisoren und Kontrollanalytiker besondere Bedeutung zu. Die Zulassung zur Graduierung
setzt nicht nur das Beherrschen bestimmter Techniken und die Kenntnis theoretischer Zusammenhänge voraus, sondern persönliche Reife und Integrität.
V. 2. Graduierungsarbeit
Die Graduierungsarbeit soll ein eigenständiger wissenschaftlicher Beitrag aus dem Bereich Integrativer Musikpsychotherapie bzw. klinischer Musiktherapie sein. Sie soll
dokumentieren, dass der Weiterbildungskandidat sich in Theorie und Praxis mit den Methoden der IMT intensiv auseinander gesetzt hat. Das Thema und eine Gliederung
wird im dritten Weiterbildungsjahr dem Prüfungsausschuss vorgelegt. Die Graduierungsarbeit muss bis zum Abschluss des fünften Jahres in drei Exemplaren mit einem
deutschen und einem englischen Abstract beim Prüfungsausschuss hinterlegt werden. Sie muss - ggf. in Kurzfassung- in einer einschlägigen Fachzeitschrift veröffentlicht
werden. Die Graduierungsarbeit wird von mindestens zwei Gutachtern beurteilt.
V. 3. Behandlungsbericht
Der Weiterbildungskandidat hat für die Graduierung einen Behandlungsbericht über eine (bzw. zwei im psychotherapeutischen Zweig) Langzeittherapie(n) zu
erstellen. Es soll das Procedere und den Verlauf vom Erstkontakt bis zum Abschluss der Behandlung dargestellt werden. Dem Behandlungsbericht sollen zwei
wesentliche Sitzungen in Tonbandaufzeichnungen als Dokumentation beigegeben werden.
V. 4. Abschlusskolloquium
Im Abschlusskolloquium werden die theoretischen und methodischen Konzepte des integrativ musiktherapeutischen Ansatzes diskutiert. Ggf. wird die
Graduierungsarbeit beigezogen. Das Kolloquium wird von mindestens zwei Beauftragten des Weiterbildungsausschusses und einem fortgeschrittenen
Weiterbildungskandidaten als Beisitzer mit vollem Stimmrecht abgehalten. Es dauert 45 Minuten. Das Prüfungsergebnis kann lauten: "Bestanden" oder "Nicht bestanden".
Im letzteren Fall kann das Kolloquium frühestens nach drei Monaten wiederholt werden. Die Prüfer können für die Wiederholung ggf. Auflagen machen. Gegen die
Entscheidung der Prüfer kann der Weiterbildungskandidat innerhalb eines Monats über die Vertreter der Weiterbildungskandidaten Einspruch einlegen.
V. 5. Graduierung in "Psychotherapie mit Vertiefungsschwerpunkt Integrative Musiktherapie" bzw. zum "Therapeuten für klinische
Musiktherapie"
Die Graduierung erfolgt durch Beschluss des Prüfungsausschusses. Der Weiterbildungskandidat erhält eine Graduierungsurkunde.
V. 6. Graduierung in "Psychotherapie mit Vertiefungsschwerpunkt Integrative Therapie
und Gestaltpsychotherapie" bzw. in "Soziotherapie mit Vertiefungsschwerpunkt
Integrative Therapie und Gestalttherapie"
Es besteht die Möglichkeit, unter Anrechnung der entsprechenden Curriculumselemente der IMTAusbildung auch den Abschluss in Integrativer Therapie/Gestaltpsychotherapie bzw. in
Gestaltsoziotherapie zu erhalten, sofern durch Ergänzungsveranstaltungen die ggf. noch erforderlichen
Teile der Weiterbildung gemäß den Richtlinien des FPI für Gestaltpsychotherapie/Integrative Therapie bzw.
Gestaltsoziotherapie/Integrative Therapie durchlaufen werden. Eine Zulassung zur Ergänzungsausbildung
muss bei der jeweiligen Fachbereichsleitung Gestalttherapie und Musiktherapie beantragt werden.
Strukturplan für Integrative Musiktherapie
Zweig: Klinische Musiktherapie
Grundstufe Mittelstufe Oberstufe
1. Jahr
2. Jahr
360 Std. Selbsterfahrungs- und Ausbildungsgruppe
40 Std. Musik,
24 Std. Theorie II
Bewegung, Therapie
40 Std. Musik, Traum
24 Std. Theorie I;
und Imagination;
24 Std. Musik und
24 Std. Ergebnisse der
funktionelle
Therapieforschung
Entspannungs24 Std. Psychoverfahren
pathologie I
40 Std. musikthp.
Stimmarbeit
mind. 24 Std.
Wahlpflichtfächer
3. Jahr
24 Std. Theorie III
32 Std. Musiktherapeutische Diagnostik und Hermeneutik;
40 Std. Gruppenprozessanalyse
32 Std. Methoden der
IMT
24 Std.
Psychopathologie II
mind. 24 Std.
Wahlpflichtfächer
4./5. Jahr
60 Std. fortlaufende
Supervision, regional
40 Std. Krisenintervention*;
40 Std. Supervision I
(Methodik):
260 Std. kontrollierte
Einzel-und
Gruppenarbeit;
mind. 24 Std.
Wahlpflichtfächer ;
Fachprüfung
Praktikum
Praktikum
80 Std. Intensivseminar Musiktherapie, 60 Std. Lehrmusiktherapie und 100 Std. integrative
Lehrtherapie oder 160 Std. musik- und integrativtherapeutische Lehrtherapie; 50 Kontrollstunden
(davon 20 medienspezifisch) und 10 Std. Anamnesen
240 Std. fortlaufende regionale Theoriegruppe; fortlaufende regionale musiktherapeutische Lern-,
Spiel- und Arbeitsgruppen; private Fortbildung im künstlerischen Bereich
Die Pflichtseminare des Strukturplanes des musikpsychotherapeutischen Zweiges können ebenfalls (fakultativ) belegt
werden und als Wahlpflichtseminare angerechnet werden. Praktika im 1. und 2. Jahr sind ebenfalls fakultativ
Strukturplan für Integrative Musiktherapie
Zweig: Musikpsychotherapie
Grundstufe Mittelstufe Oberstufe
1. Jahr
2. Jahr
360 Std. Selbsterfahrungs- und Ausbildungsgruppe
40 Std. Musik,
24 Std. Theorie II
Bewegung, Therapie
40 Std. Musik, Traum
24 Std. Theorie I;
und Imagination;
24 Std. Musik und
24 Std. Ergebnisse der
funktionelle
Therapieforschung
Entspannungs24 Std. Psychoverfahren
pathologie I
40 Std. musikthp.
32 Std. MusiktheraStimmarbeit
peutische Diagnostik und Hermeneutik;
3. Jahr
24 Std. Theorie III
40 Std. Diagnostik /Erstinterview
und Prozessuale
Diagnostik
40 Std. Gruppenprozessanalyse
32 Std. Methoden der
IMT
24 Std.
Psychopathologie II
4./5. Jahr
60 Std. fortlaufende
Supervision, regional
40 Std. Krisenintervention;
40 Std. Supervision I
(Methodik):
40 Std. Supervision II
(Kasuistik);
460 Std. kontrollierte
Einzel-und
Gruppenarbeit;
mind. 24 Std.
Wahlpflichtfächer
mind. 24 Std.
Wahlpflichtfächer
mind. 24 Std.
Wahlpflichtfächer
Mind. 24 Std.
Wahlpflichtfächer ;
Fachprüfung
Praktikum
Praktikum
Praktikum
Praktikum
80 Std. Intensivseminar Musiktherapie, 80 Std. Intensivseminar Integrative Therapie, 60 Std.
Lehrmusiktherapie und 100 -250 Std. Lehranalyse oder 160-250 Std. integrierte musik- und
integrativtherapeutische Lehrtherapie; 100 Kontrollanalysen (davon 30 medienspezifische) und 20
Std. Anamnesen
240 Std. fortlaufende regionale Theoriegruppe; fortlaufende regionale musiktherapeutische Lern-,
Spiel- und Arbeitsgruppen; private Fortbildung im künstlerischen Bereich
Autoren: Dr. phil. Isabelle Frohne-Hagemann, Prof. Dr.Dr. phil. Hilarion Petzold
Herbst 1999
Copyright: Fritz Perls Institut, Düsseldorf
5. überarbeitete und veränderte Auflage 1999
Es wird darauf hingewiesen, dass die hier niedergelegten Weiterbildungsrichtlinien urheberrechtlich
geschützt sind. Es ist daher unzulässig, in irgendeiner Weise dieses Werk abweichend von seinem
vorgesehenen Zweck der Information von Weiterbildungskandidaten des FPI, zu nutzen, insbesondere in
dieser oder abgewandelter Form ohne Erlaubnis der Berechtigten zu vervielfältigen und Dritten zugänglich
zu machen.
Institute
11) Fachhochschule Frankfurt am Main,
University of Applied Sciences,
Fachbereich Sozialpedagogik
Frankfurt Am Main,
Deutschland
Contact
Almut Seidel
Person
E-mail
seidel@fb4.fh-frankfurt.de
1
No
2
Yes
2.a.
3 years academic study, (Social-, intellectual and humanistic science, artistic
studies)
3
6
4
120 credits
5
All subjects are equally practical and theorethical.
6
No, all areas conceivable.
7
Psychoanalytic,
Humanistic,
Transpersonal
at times
8
Yes
9
Master of Arts of Music Therapy
10
All kinds of music that persons have or use.
11
As intercultural as necessary and possible.
12
Master programs are international.
Institute
12) Fachhochschule Magdeburg
Magdeburg,
Deutschland
Contact
Susanne Metzner
Person
E-mail
susannemetzner@gmx.de
1
Yes
2
No
2.a.
3
8 semesters (and then 2 practice semesters)
4
http://www.sozialwesen.hs-magdeburg.de/musik/index.html
5
60/40 %
6
It changes. In present we mainly focus on children and youth psychiatry, geriatrics,
psychiatry, children-oncology, neonatology.
7
Psychoanalytic, Humanistic.
8
Yes
9
Music Therapy Degree
10
We strive for versatility
11
No
12
No, no special programs, but foreign students can here study if they speak German
and if they fulfill the other studies‘ prerequisites.
Institute
13) Universität - Gesamthochschule Siegen, Musikalisch-therapeutische
Zusatzausbildung für Helfende Berufe
Siegen,
Deutschland
Contact
Hartmut Kapteina
Person
E-mail
kapteina@musik.uni-siegen.de
1
No
2
Yes
2.a.
The students must be one "helping occupation", therefore, Socialpedagogist,
psychologist, teacher, therapist or doctor.
3
At least 5. semesters apprenticeships
4
Please read our website at www.musiktherapie-SASP.de under the title ―Mit musik
Heilen‖.
5
ca. 40/ca.60
6
Yes, we focus mainly on improvisation with instruments and voice, social
pedagogy, but also all clinical fields.
7
Psychoanalytic, humanistic.
The musical process shows us that these psychotherapeutic subdivisions are
artificial. In the improvisation, learning theoretic processes happen next to depth
psychological and transpersonal. Because it concerns a postgraduate directed
education, many users bring along already a psychotherapeutic alignment. They
should have the possibility in our education to construct on that and to find the
alignment, that suits to them. I.e. We are explicit no psychothp. Would educate
obligated. The instructors themselves have however either psychoanalyt. or
integratedly-humanistic educations.
8
Yes
9
Comparably with Social pedagogic degree.
10
Probably you think now of receptive music therapy. In receptive work, all musical
styles are conceivable. It must suit for the clients and for the thp. situation. Yes we
use each music
11
No
12
Yes
Institute
14) Hochschule für Musik und Theater
Hamburg
Germany
Contact
Hans-Helmut Decker-Voigt
Person
E-mail
decker-voigt@rrz.uni-hamburg.de
1
Yes, and postgraduate program.
2
Yes, in Masters Degree (M.A.)
No, in Bachelor of Art (B.A.)
2.a.
College/University degree in an ―Interaction‖ profession (social worker, musician
or teacher, psychology, medicine, science of music)
3
6 semesters
4
See below
5
55 % Theory/Theories,
45 % Practice
6
Yes: 1) Music therapy and Development Psychology (Baby Watching)
2) Music in Medicine (Anesthesia)
We focus on all ages in clinics, ambulances and on prevention/prophylaxis.
7
Psychoanalytic, Humanistic, including Development Psychology (analytical)
8
Yes, an artistic psychotherapy
9
BA degree, MA, PhD (Dr. rerum scientiae musicae)
10
Always individual decision together with the patient, whatever she/he wants.
11
Tranceinduction hypnosis with music with analytical-medical background
12
Yes, for eg. Moduls ―electronic teaching + learning‖
CURRICULUM OF HOCHSCHULE FÜR MUSIK UND
THEATER, HAMBURG
Modul
SWS
Units
Credit
Study
Points Performance
/
Examination
1
Development and Social
2
60
5
S: R/H
Psychology
2
Introduction to Psychoanalysis
1
30
3
S: R/H
3
Science Theory
2
60
5
S: K
4
Medical Basics I
2
60
5
S: P
5
Introduction to Psychotherapy
2
60
5
S: R/H/K
6
Active Music Therapy – concept
2
60
5
S: R/H/K
and Theory
7
Improvisation
4
120
8
S: R/H/P
8
Percussion
1
30
2
S: pP
9
Psychodynamic Movement
2
60
4
S: P
10
Carl Rogers‘ Therapy
1
30
3
S: P/K
11
Interdependence between
2
60
5
P: K/mP
2
60
5
S: R/H
Development and Musical
Socialisation
12
Elements of Theory of Music
Therapy
13
Medical Basics II
1
30
3
P: Kl
14
Psychopathology, Psychiatric and
2
60
5
P: Kl
Psychosomatic Disorders
15
Psychoanalysis – Clinical Theory
2
60
5
S: R/H/P
16
Receptive Music Therapy
2
60
5
S: R/pP
17
Musicmedicine
1
30
3
S: H
18
Therapeutic Improvisation
4
120
8
P: pP
19
Voice Training
1
30
2
S: pP
20
Psychodynamic Movement
2
60
4
S: P
21
Narcismus Theory
1
30
3
S: K
22
Psychoanalysis and Culture
2
60
5
S: R/H or
Theory
23
Music Therapy in Context of
P: Kl/mP
2
60
5
Sociological Perspectives
S: R/H or
P: Kl/mP
24
Psychopathology of Geriatrics
1
30
3
S: R/H/K
25
Complementary Seminar /
1
30
3
S: R/K
2
60
5
S: H/P or
Concept of Master Thesis
26
Documentation and Evaluation /
Practical Research
27
Music Therapy with Children and
P: mP
1
30
3
Young People
28
Music Therapy in Internal
S: R/Hod
P: mP
1
30
3
S: R/H/P
2
60
4
S: P
Medicine
29
The Importance of Body in the
Praxis of Music Therapy
30
Music Workshop
4
120
8
P: pP
31
Clinical Practice of
1
30
3
S: pP
Stud.
60/100/60
5/5/5
S: H
2/2/2/
60/60/60
4/4/4
S: H/P
34a-c Teaching of Music Therapy
1/1/1
30/30/30
3/3/3
S: H
35a-c Supervision
1/1/1
30/30/30
3/3/3
S: P
Musicmedicine
32a-c Complementary Studies of
Practice
33a-c Theory and Praxis of Group Music
Therapy
S: Study performance; P: Examination
H: Homework; R: Report; Kl: Written examination; Pr.: Protocol; K: Kollokvium;
m.P.: Oral examination; pP: Practical Examination
GREECE
Institute
15) Hellenic Music Therapy and Creative Expression Society
Greece
Contact
Lianna Polychroniadou Priyou
Person
E-mail
aris25@otenet.gr
1
Yes (There are seminars that can prepare students for the postgraduate program)
2
Yes
2.a.
They come from human sciences (diploma in music therapy) or music/music
education (diploma in music therapy)
3
3 years
4
Lot of subjects, each year renewing (in human sciences, biology, music education
etc., a lot of self implication, practice)
5
6
We prepare our students to work in clinical, social, preventive, pedagogical music
therapy. It depends also on their first diploma.
7
All of them. We go further towards the different theoretical schools.
8
Yes
9
They have the diploma of Music Therapy profession
10
We consider ―music‖ in a very large frame.
11
Of course we include our culture to our education.
12
Yes
ISRAEL
Institute
16) Bar-Ilan University, Ramat-Gan,
Israel
Contact
Dorit Amir
Person
E-mail
amir@mail.biu.ac.il
1
Yes
2
Yes
2.a.
They need to have BA in music and psychology (or special education/social
work/criminology)
3
4 semesters
4
See below
5
4 semesters of theoretical work and 4 semeters of field work (all together
600 hours of field work)
6
Our program focuses mainly on music in psychotherapy and also on music in
medicine and rehabilitaion.
The main field of work of music therapists in my country - I would say that
most of the music therapists work in the educational setting; some work in
hospitals (both psychiatric and regular) and nursing homes.
7
Humanistic Trans-personal
8
Yes
9
MA in music therapy degree
10
Yes, we use all kinds of music
11
Yes, namely Israeli folk songs
12
No
CURRICULUM OF BAR-ILAN UNIVERSITY
BAR - ILAN UNIVERSITY
FACULTY OF HUMANITIES
MUSIC DEPARTMENT
THE M.A. PROGRAM IN MUSIC THERAPY
INFORMATION SHEETS
Introduction
Music Therapy is a systematic process of therapeutic interventions in which three factors are
involved: the therapist, the client and the music. The use of music and musical elements, the
relationships that are established among them, and the relationship between the therapist and
the client - all combine to create experiences that improve the client's health and well being.
The therapist is a professional who has a vast knowledge in music and psychology. Music
Therapy is a scientific discipline that includes clinical practice, as well as research and theory.
All aspects of the field are geared towards the use and the study of the therapeutic power of
music.
The Music Therapy program at Bar Ilan University was established in 1982 as a mutual
project of the musicology and the psychology departments. It is a clinically oriented M.A.
program, aims to give the students basic knowledge and understanding of music therapy. The
program serves wide populations including: children, adolescents and elderly people with
mental, physical and neurological handicaps; people suffering from behavior and emotional
disturbances or learning disabilities; psychiatric patients, hospitalized patients; and people
who are in crisis or want to improve their well being.
The program combines two main philosophies in the field: the first is: music as therapy - a
perception that emphasizes the use of music and sees the music as the main and sometimes
the only therapeutic element in therapy. The second philosophy is: music in therapy - a
perception that sees the verbal element as important as the music in the therapeutic process.
The program combines studies in music therapy, psychology, movement therapy, psychology
of music and music and vocal improvisation together with 600 hours of internship. The
students learn the history and philosophy of music therapy, and how to use live and recorded
music during the treatment process. The internship takes place in medical and psychiatric
hospitals; schools for special education, child developmental and therapeutic centers,
palliative care centers, rehabilitation centers, nursing homes and geriatric centers.
Entry requirements
1. BA in Music and Psychology with an average of 76% at least
Or B-Mus. These applicants are required to complete studies in psychology.**
 B-Ed. These applicants need to complete studies in musicology* and psychology**.
 BA in special education or counseling, sociology, criminology, social work. These applicants
are required to complete studies in musicology*.
2. An interview
3. Piano skills of at least 5 years.
4. Other instrument (guitar, flute, voice, etc.) of at least 3 years.
---------------------------------------------*Completion program in musicology:
Harmony 1 + 2
2 Performance groups
History of Western music
Introduction to musical cultures in the world
**Completion program in psychology:
Introduction to psychology
Developmental psychology
Theories in personality
Abnormal psychology
The applicant must finish all the above, prior to submitting his/her application to the music
therapy program.
THE MUSIC THERAPY PROGRAM
Academic requirements:
30 points (27 academic points +3 points for fieldwork).
Knowledge of the English language
Writing 3 seminar works?
Field work of 6 hours the first year and 12 hours the second year
Final examination
Description of courses:
First year:
Introduction to music therapy 1 point
Musical skills an repertoire 1 point
Practicum 1 1 point
Music therapy theories and methods 2 points
Clinical improvisation 1 1 point
Music therapy group 1 1 point
Dance therapy 1 point
Psychopathology 2 point
Approaches of psychotherapy 2 points
Voice training
1 point
Internship
200 hours
Second year:
Music therapy theories and models 1 point
Music therapy group 2 1 point
Clinical improvisations 2 1 point
Vocal improvisation and drumming
1 point
Clinical interview 1 point
Practicum 2 2 points
Theories in Psychotherapy & its connection to MT 1 point
Group processes in music therapy
1 point
Psychology of music 1 point
Case study seminar
1 point
Seminar in psychology
1 point
Research methods
1 point
Departmental seminar
1 point
Internship
400 hours
Jewish studies according to the MA committee requirements
THE INTERVIEW
Pending fulfillment of all prerequisites, each applicant is invited for an interview. The
interview lasts app. one hour and is done by the head of the music therapy program and
another teacher(s) from the staff. It is an individual interview that has two parts: verbal and
musical.
The goal of the interview is to assess the following:
Musical skills:
Piano
1. The ability to play in three different styles (classical, jazz, blues, etc.).
2. The ability to play a basic repertoire of popular songs.
3. The ability to sing and accompany the singing simultaneously.
4. The ability to sight read simple pieces.
5. The ability to harmonize songs.
6. The ability to transpose songs from one key to another.
7. The ability to improvise and use the piano as a self-expressive instrument.
A second instrument:
1. The ability to play in two different styles.
2. The ability to play a basic repertoire of popular songs.
3. The ability to accompany singing of self and others.
4. The ability to improvise and use the instrument as a self-expressive one.
Voice:
1. The ability to sing from notes and from memory.
2. The ability to improvise vocally.
Personality fitness of the applicant:
1. The motivation for studying music therapy.
2. The ability to work with people (empathy, support, caring).
3. Leadership skills (assertiveness, the ability to take risks, etc.)
4. Creativity and self expression skills (spontaneity, playfulness)
5. Communication skills.
6. Self-evaluation of strengths and weaknesses.
7. Self-awareness, self-acceptance and self image.
Institute
17) David Yellin College
Jerusalem
Israel
Contact
Chava Sekeles
Person
E-mail
sekeles@netvision.net.il
1
No
2
Yes
2.a.
B.A. in music + 8 weekly hours, one year, in psychology.
3
2 years, soon 3 years
4
See below
5
About 50-50%
6
No, we focus on a variety of frameworks (dbain damage, psychiatry etc.)
7
Psychoanalytic and developmental-integrative
8
Yes, but not only
9
Soon MA (at the moment, diploma)
10
We use what needed when needed (―client centered music‖)
11
Yes, we have immigrants from all areas of the world, thus we use the most
appropriate folk music.
12
No
CURRICULUM, DAVID YELLIN COLLEGE
MUSIC THERAPY IN ISRAEL
Dr. Chava Sekeles
Association
LC.E.T. The Israeli Association of Creative and Expressive Therapies Section
Music Therapy
Definition
Music Therapy is the beneficial use of a client-therapist's interaction through music,
in order to preserve healthy qualities, to promote development and change, and to
achieve a better quality of life. The term music, includes both its basic components
(frequency, duration, intensity and timbre), and music as a complex art form. The
studies of music therapy consists of integration of theory, personal development and
supervised practice. The theoretical studies are the basis of therapeutic thinking,
consideration and assessment. The dynamic workshops are meant for self
development and emotional maturity, and the supervised work in clinical setting
encourages the integration of professional skills.
The music therapist is a professional who employs skills and an integrated knowledge
derived from specific interdisciplinary training, combining a thorough knowledge of
music and of therapeutic theories and methods.
Membership
*Graduate member * Active member
* Registered member * Registered supervisor
Historical Background
1971
Official establishment of the LC.E.T. by 10 members
1980/2
3 post graduate training programs
1981/2
Central professional library + 3 libraries attached to the training programs 2001
260 music therapy members
Organization and Committees
Chairperson, secretary, treasurer
Registration
Ethics Public relationship
Regional
Professional
Study days and conferences are being held both for all sections of I.C.E.T as well as
for each specific section.
Training programs
Music Therapy The David Yellin College of Education, Institute of Art
Therapies (Founded in 1980/1 by dr. Chava Sekeles)
Entry requirements
* B.A. in music and/or musicology (600-900 hours of music, grade average 85%)
* In some cases: B.A. in a therapeutic profession + thorough knowledge of music
* 352 hours of psychology (8 w.h 1 year)
* Personal interview
* A written examination
* A dynamic oral examination (vocal & instrumental, individual and group)
* Appropriate personality
Approach
Developmental-Integrative model in music therapy / Psycho-dynamic orientation
(Eclectic)
Accentuation and integration of:
Complementary studies in music; psychology; medicine; special education; ethnocultural aspects of music; research methods; integrative studies in music therapy
(theory, workshops, internship, supervision); dance-movement & visual arts for self
development; 2 written projects; final exams (total hours: 3440).
Degree: Professional diploma + M.A. in cooperation with The Hebrew University in
Jerusalem.
Director: (1980-2002) Dr. Chava Sekeles
___________________________________________________________________________
B Music Therapy The Bar Ilan University (Founded by Dr. Dorit Amir 1982)
Approach: Humanistic (Eclectic)
Entry requirements
*B.A. in music and psychology (grade average 76%) or:
*B.Mus. and completion of studies in psychology or:
*B.A. in special Education and completion of studies in musicology & psychology
*Personal interview & audition
*Piano skills (at least 5 years)
*An additional instrument (at least 3 years)
Accentuation and integration of:
Music therapy; psychology; movement therapy; psychology of music; vocal
improvisations; internship; supervision; 3 written projects; final examination (Total
hours: 1800)
Degree: M.A.
Director: (1982-2001) Dr. Dorit Amir
___________________________________________________________________________
C. Music & Movement Therapy, Academy of Music at The Levinsky College of
Education. (1982 founded by Mrs. Dalia Razin)
Approach
Combined Music & Movement therapy / Psycho-dynamic orientation (Eclectic)
Entrv requirements
* B.A. in music / musicology or:
* B.A. in psychology + at least 600 hours of music
* Verbal interview
* Movement interview
* Music audition
Accentuation and integration of:
Music; movement; psychology; medical subjects; internship; supervision; drumming
& Indian music-dance-philosophy; 2 written projects (1 case analysis; 1 research)
(Total hours: 1750)
Degree: Professional diploma.
Director (2000-2001) : Mrs. Nehama Yehuda (Ph.D. candidate)
___________________________________________________________________________
Mutual features
Recognition
The 3 Programs are accredited and supervised by I.C.E.T., the Ministry of Health, the
Ministry of Education and/or the Committee of Higher Education.
B.A. (Post graduate programs)
The use and importance of music
All 3 programs accentuate the Being Process as well as the Doing Process; Music as
Therapy and/or Music in Therapy, depending on the therapeutic situation.
Improvisations (music / movement)
Clinical improvisation is considered to be as a central therapeutic tool.
Bibliography The professional bibliography used in the programs is composed of up-to-date
books and article in Hebrew and English, as well as historical material from ancient times to
present.
Population
1. Children in Special Education or in institutional setting
2. Psychiatric patients (clinics, hospitals)
3 Varied patients in general hospitals
4 Patients in day care or day hospitalization
5. Elderly in geriatric and psycho-geriatric facilities
6. Prisoners
7. People in hostels and "Homes for Life"
8. Patients in Child Developmental Centers
9. Patients in neurological rehabilitation centers
In addition music therapist work with normal-neurotics and others who choose to
experience therapy, overcome crisis and improve the quality of life.
Since 1988 the regulation of the LC.E.T and the ministry of Health fixed an entry
requirement of a bachelor degree for all programs (see variations).
ITALY
Institute
18) Associazione Italiana Assistenzia Spastici
Cosenza,
Italy
Contact
GianLuigi di Franco
Person
E-mail
gianldif@tin.it
1
Yes
2
Yes High school and testified musical competencies
2.a.
Let the music become dynamic in order to help themselves and then the clients
3
3 years part-time course
4
5
Theoretical 50% Practical 50%
Both in the field of music therapy, but also of Medical and Psychological
side in order to define a multidisciplinary approach.
6
Yes, we focus mainly on: a) adult psychiatric rehabilitation ; b) children
communicational disorders
7
Psychoanalytic
8
Yes and No. It depends on the level you work
9
10
Yes, we use "light" music, for eg. musica leggera , jazz is fundamental
for the improvisation concept.
11
Yes, namely Tammurriata is a special rhytm of the south of Italy
12
Yes (one week or Clinical Practice with Supervision - 6 months)
THE NETHERLANDS
Institute
19) NVKT Nederlandse Vereniging van Kreatieve Therapeuten
The Netherlands
Contact
Klaus Drieschner
Person
E-mail
k.drieschner@wolmail.nl
1
Yes
2
In general yes, but there is a possibility for a shorter music therapy course (2 years)
for people who already have a relevant training and some clinical experience.
2.a.
It must be at least a bachelor degree in a health care profession (e.g. social work,
nursing, ergotherapy).
3
12 trimesters (14 weeks each) in 4 years
4
I don't teach. There are four schools in the Netherlands. They may be able to send
you the curricula which should overlap for about 70%. The Dutch professional
association of art therapies may be able to mail you the addresses of the schools
(nvkt@wanadoo.nl or changed into nvct@wanadoo.nl).
5
It is not clear to me how you would define "practical subjects" (exclusively clinical
practice? (about 25%; methodological courses?; musical training?)
6
About 30% adult psychiatry; 20% psychogeriatry; 20% mentally handicapped;
miscelaneous (forensic psychiatry, child psychiatry, revalidation).
7
There is a trend away from theoretical backgrounds developed for verbal form of
psychotherapy and towards theoretical frameworks more specific for the art
therapies (see the work of H. Smeijsters).
8
Personally, I regard "psychotherapy" as an ill-defined category. Therefore the
question makes little sense to me. Furthermore, there are so many forms of
musictherapy and categories of clients (even within the Netherlands) that the
question could not be answered in general, even if it was clear what
"psychotherapy" encompasses.
9
Bachelor degree
10
Every kind of music, mostly depending on the preferences, familiarities,
subcultures, age etc. of the categories of clients. (Classical music is rare in forensic
psychiatry and contemporary pop music from is rare in psychogeriatrics).
11
Work with children requires knowledge of child music of teh specific culture (e.g.
turkish songs if you work with turkish clients). In the psychogeriatrics you have to
be familiar with songs from the first half of the 20th century.
12
The training programs are open to foreign students.
Institute
20) Stichting Register Creatieve Therapeuten (SRCT),
Borne
The Netherlands
Contact
Laurien Hakvoort
Person
E-mail
L.Hakvoort@mi.dji.minjus.nl
1
Yes
2
No
2.a.
3
8 semesters
4
5
40/60%
6
Yes, we focus mainly on music therapy in othoagogic (handicapped, rehabilitation
etc.) in first two semseters and psychiatric care in second two semesters.
7
8
Yes
9
Bacelaureaat
10
No we use all kinds of music, "light" music as well as classical music.
11
No
12
Yes 50 to 60 % of the students are German.
Institute
21) Hogeschool Van Arnhem En Nijmegen,
Nijmegen,
The Netherlands
Contact
Pieter van den Berk
Person
E-mail
Pieter.vandenBerk@ub2.han.nl
1
No - Bachelor degree
2
No
2.a.
3
8 semesters (4 year)
4
The curriculum and credit points are on internet on:
http://www.han-cto.nl/Muziektherapie/Lessen.htm
It is in Dutch language. Studiepunten = credit points
One propaedeutical year and 3 years head course
5
Music: 39 credit points
Music Therapy: 30 credit points
Theory: 35 credit points
Practical: 42 credit points
Theoretical/practical
75/25 %
6
There is a overvieuw of the main fields music therapy in the Netherlands:
http://www.stichtingmuziektherapie.nl/engels/mt-nederland/nederlandmt.htm
> Yes, we focus mainly on this 6 fields:
1. general psychiatry,
2. TBS/forensic psychiatry,
3. care for the mentally handicapped
4 physically handicapped
5. geriatric care
6 special education (children)
On our website (www.han-cto.nl) we have a vieuw of practical:
http://www.han-cto.nl/zoeken/stage_frama.htm
7
We have no dominant, all schools are on our college
8
Yes
9
Bachelor degree
10
Yes, we use light music and classical music, especially the diffenet musical
parameters, improvisation, etc.
11
Yes, only children songs
12
No, but almost 50% of our students are from other countrys, but the program
is not special for foreign students. We only have dutch Lessons.
NORWAY
Institute
22) Sogn og Fjordane College
6823-Sandane
NORWAY
Contact
Felicity Baker
Person
E-mail
felicity.baker@hisf.no
1
No
2
Yes
2.a.
A minimum of 3 year degree in a health field or music field.
3
4 semesters although we are moving into a Masters degree system
where it will be 6 semesters starting 2003-
4
http://www.hisf.no/sts/Musikkterapi/Engelsketekster/musicTherapy.ht
m Try this website
or find the link from
http://www.hisf.no/sts/Musikkterapi/Informasjon/information.htm
5
I would say approximately 50-50
6
Yes, we focus mainly on psychiatry and handicapped people (particularly retarded
people) but we are now diversifying – geriatrics and hospital work.
7
We are eclectic but mostly humanistic.
8
Yes
9
vitenmĺl
10
Yes, we use "light" music, for eg. we use very little classical music, a lot of rock,
jazz, blues, boogie and folk.
11
No
12
Yes. We take a maximum of 2 student from Lithuania each year and we
are now starting to prepare to take students from East Africa (Kenya).
SPAIN
Institute
23) Instituto Música, Arte y Proceso
Spain
Contact
Patxi Del Campo
Person
E-mail
patxi@agruparte.com
1
No
2
Yes
2.a.
They need a degree, or being graduate (most usual, Psychology, Pedagogy,
Teaching, Medicine...), with musical knowledgements; and also possible with a
Music degree.
3
3 academic years of 9 months aprox. It's in weekends.
4
The education lasts 88 theoretical credits (880 hours). The student has to complete:
- 76,2 of these theoretical credits
- 25 practical credits
- Final thesis
Music Therapy Area (16,8 credits): Didactic Music Therapy, Improvisation, Music
Therapist and professional inter-disciplinary team, Music Therapy and Special
Educative Needs, Geriatric Music Therapy, ...
Acoustic and Musical Area (16,2 credits): Organology, theory and practice; Culture
and music, Acoustic fundamentals; Human voice, Improvisation analysis...
Psychology and Pedagogy Area (13,2 credits): Psychopatology; Therapeutic
Structure; Body expression; Psychology of music;...
Practice and Investigation (28,6 credits): Practicum (25 credits), Intervention
design, Methodology of investigation
Specialization seminars (9 credits)
Summer School credits
5
60/40 %
6
7
Psychoanalytic, Humanistic
8
Yes
9
Private degree, not officially recognized in Spain, recognized by the University.
10
Yes, we use "light" music, for eg. african music
11
No special field of education. We can use it if it is relevant for some patient, and
we show to the students some instrument like "Txalaparta", but not as a field of
education.
12
No, but there have been foreign students in our course; and we have teachers from
various countries, from Europe and America.
Institute
24) University of Barcelona,
Barcelone,
Spain
Contact
Serafina Poch
Person
E-mail
spoch@ctv.es
1
No
2
Yes
2.a.
They need to be: Licenciado (Master), or University Diploma in :
Medicine, Psychology, Special Education, Education, Music, Artes...
And to play a middle level (not needed to be a degree in a Conservatorio of
Music) a musical instrument, preferently piano, guitar
3
In Spain each Course it is of 9 month, from Octobre to June of each Cours.
It is a two and a half years. It is two years Course (18 months, plus 6 month of
Clinical Work, after finishing the university Courses, but during the Courses there
is 14 hours of Clinical work, into the first Course and 50 hours of Clinical Work
into the second Cours.
4
See below
5
During the two years Course:
64% theoretical
36% practical
Plus, six month Clinical Practices.and a Final Studies Writting Work, about the
experiences and results of the Clinical Work.
6
Geriatrics, Child Psychiatric and Neurologic problems .- Emotional problems.Autism.- Williams Syndrome.- Neonatology.- Preventive Music Therapy.
We focus mainly on Psychiatric patients, geriatrics, Spetial Education children.Autism.- William Syndrome.- Emotinal problems.
7
Psychoanalytic: Yes, but not in deep.
Cognitive, Humanistic, Trans-personal: yes.
8
Yes
9
University of Barcelona Diploma on Music Therapy
10
We use classical music, preferently, but, folk music, opera o zarzuelas music,
music from movies, etc., too. Any tipe of music that can be used with patients.
11
Yes, namely.zarzuela music, "pasodobles", sardanas (folk dance from Catalonia),
"jotas" from Aragon, sevillanas from Andalucía, etc.And religious music.
From one idea expossed in a book from 1787: Francisco Javier Cid, medicine
phisitian, from Toledo: "Tarantismo observado en Espańa..." I am using a
technique that I call: "Técnica de losViajes Musicales" ( Musical traveling
technique). CID wrote about the importance for the mentally ill patient, to travel, to
go out from the hospital. At that time they used that technique. Dr. Cid claimes that
music could be a substitute because the power of music to make people to "travel"
with their imagination.
S. Poch:(1999) "Compendio de Musicoterapia" Barcelona.-Herder Editor.- Vol.
II, pp. 431-432.- Vol. I: pp. 144-145.
12
We do not have an specific program for foreign students, but they can
follow the existing program.
Until now (from 1992, had attended this Course, one student from Brazil, two
from Venezuela, one from Colombia. Many others had applied but the problem it is
always the lack of economical support.
CURRICULUM OF THE UNIVERSITY OF BARCELONA
Curso de Postgrado en Musicoterapia
Universidad de Barcelona
LES HEURES
Número de edición
4ª edición
Lugar y fechas de realización
Barcelona
Octubre 2001-juny 2003
(Logos de entidades colaboradoras y/o coo
Asociación Catalana de Musicoterapia
Presentación o Introducción
En el Curso 1992/93 se inició el Curso Diploma de Postgrado en Musicoterapia de la
Universidad de Barcelona. Aquel Curso fue el primero que se impartió a nivel
universirtario de todo el Estado Español. En 1979 la Dra. Poch hizo el primer intento
para poder realizar estos cursos pero lo impidió el hecho de estar bloqueada la creación
de nuevas disciplinas.
La Musicoterapia forma parte de las llamadas terapias creativas junto con la DanzaTerapia, el Arte-Terapia, la Poesía-Terapia y el Psicodrama. Puerde definirse como la
aplicación cienjtífica del arte de la música y la dnaza con finalidad terapéutica y
preventiva.
Objetivos
Este Curso de postagrado pretende formar profesionales musicoterapeutas
sólidamente preparados para poder trabajar en diversos ámbitos de la salud tanto
mental como física: Centros psiquiátricos y Servicios Asistenciales, maternología,
unidades del dolor, cirugía, enfermos terminales, geriatría, minusvalías físicas y
neurológicas, drogadicción, Centros Penitenciarios, Centros de Educación Especial,
Aulas de Educación Especial, “Esplais”, Guarderías Infantiles, Escuelas de
Integración, Aulas de adolescentes con problemas, etc.
Los alumnos que lo deséen podrán realizar el Internado de Musicoterapia en
EE.UU. o en Inglaterra.
Destinatarios
Licenciados o Diplomados universitarios. Se consideran necesarios un mínimo de
conocimientos de música para aplicar la Musicoterapia en los ámbitos sanitarios,
educativos, de rehabilitación social y de bienestar social.
Se admitirá un 10% de alumnos no titulados siempre y cuando reúnan una serie
de condiciones consideradas necesarias por la Dirección del Curso.
Duración, Calendario y horario
Dos Cursos Académicos, más seis meses para la realización de un trabajo clínico.
Viernes, de 18.00 h. a 22.00 h. Sábados de 10.00 h. a 14.00 h.
Lugar de realización
Palau de les Heures.
Dirección
Prof. Dr. Cartlos Ballús i Pascual, UB.
Dra. Serafina Poch i Blasco, RMT.
Programa
PRIMER AÑO:
Assignaturas Profesor Horas classe Créditos
1.- Ciencias de la Salud:
Psicopatologia de Adultos: Carlos Ballús Pascual 18 1,8
E. González Monclús
Psicopatologia Infanto-Juvenil: José Manuel Romacho 18 1,8
2.- Música:
Teoría de la Música Lluís Gásser 12 1,2
Historia de la Música: César Calmell, 5 0,5
Piano e Improvisación (I) Maria Gorina 30 3
Danza Toni Fabregat 10 1
3.- Psicología de la Música (I) :
Psicología de la Música (I): Serafina Poch 12 1,2
4.- Musicoterapia:
Historia de la Musicoterapia: Serafina Poch 5 0,5
Teoría de la Musicoterapia: Serafina Poch 10 1
Organització: Serafina Poch 10 1
Metodologia (I ) Serafina Poch 24 2,4
Alicia Lorenzo
Musicoterapia Preventiva: Serafina Poch 8 0.8
Ámbito social
Ámbito personal
Ámbito familiar
Ámbito escolar
Ámbito espiritual
Musicoterapia Aplicada ( Infantil) : Serafina Poch 24 2.4
Nuria Escudé
Neonatología
Educación Especial
Trastornos Neurológicos (epilepsia, parálisis cerebral
lesión cerebral, síndrome de mínima disfunción
cerebral...
Minusvalías físicas: espina bífida, distrofia muscular
progresiva, tetraplegias, etc...
Problemas emocionales
Autisma y esquizofrenia infantil.
Síndrome de Williams.
Prácticas Clínicas: Serafina Poch 14 1,4
Nuria Escudé
Total I Año: 200 horas 20 créditos
SEGUNDO AÑO:
Asignaturas Profesor Horas clase Céèditos
1.- Ciencias de la Salud:
Psicoterapias y otras Técnicas Terapéuticas :
L. Ortega- Monasterio 15 1,5
2.- Música :
Piano e Improvisación (II):. María Gorina 30 3
Canto y Dirección Coral: Jordi Colomer 10 1
3.- Psicología de la Música:
Investigación en Musicoterapia: Núria Escudé 16 1,6
4.- Musicoterapia :
Metodología(II) : Serafina Poch 24 2,4
María Viñas
Musicoterapia Aplicada (II): Serafina Poch 55 5,5
Mireia Recasens
Pilar Lago
Maria Viñas
Trastornos :del estado de ánimo,
depresión, ansiedad, esquizofrenia
en adultos y adolescentes.
MT en rehabilitación física
Trastornos en edades avanzadas: demencia
senil, Alzheimar, Parkinson, etc.
Musicoterapia en centros penitenciarios.
Musicoterapia en Centros Geriátricos.
Enfermos de SIDA, cáncer.
Enfermos terminales. Estado de coma.
Classes Prácticas y Prácticas Clínicas: Serafina Poch 50 5
Núria Escudé
Mireia Recasens
Mª Ascensión Riba
Total II Año: 200 horas 20
Total horas del Postgrado: 400 horas 40 créditos
Trabajo clínico de Final de Estudios de 6 meses.
Convenio para Prácticas Clínicas:
Se ha establecido un Convenio con el Hospital de San Juan de Dios, UB, en el
Área de Psiquiatría Infantil, para realizar las Prácticas Clínicas.
También con el “Instituto Catalán de Musicoterapia” de Barcelona (privado).
Se estudia la posibidad con otros hospitales o institutos.
Profesorado:
BALLÚS y PASCUAL, Carlos: Catedrático de Psiquiatría de la UB.
Profesor Emérito de la UB. Miembro de la Real Academia de
Medicina de Barcelona.
CALMELL, Cèsar : Doctor en Historia del Arte. Prof. de Didàctica de la
Música. UAB.
COLOMER, Jordi : Prof. de Música y de Dirección. Prof. del
Conservatori de Música de Manresa.
ESCUDÉ, Núria : Licenciada en. Título Superior de Piano. Curso de Postgrado en
Musicoterapia, UB. Musicoterapeuta Registrada (ACMT).
Musicoterapeuta en la práctica privada.
FABREGAT NOSÀS, Toni: Prof. de Dansa. ―Institut Municipal de
Cultura‖.de Barcelona
GÁSSER, Lluís : Doctor en Musicología Aplicada (U.Standford).
Prof. y Jefe de Estudios del Conservatorio Superior de Música de
Barcelona.
GONZÁLEZ MONCLÚS, E.: Profesor Titular de Psiquiatría. Facultad de
Medicina, UB.
GORINA VANRRELL, Marina: Títolo Superior de Piano. Cursos de Postgrado con
Elza Kolodin en Freiburg (Alem.). Profesora de Piano y
Música de Cámara en la ―Escuela de Música de
Barcelona‖. Participó en la Masterclas con Lluís Claret, en
el Curso Internacional de Música de Vic.
LAGO CASTRO, Pilar : Doctora en Fil. y L. Profesora Titular de la UNED.
Directora del Curso ―Música y Salud: Introducción a la
Musicoterapia‖ de la UNED.
LORENZO, Alicia: Máster en Musicoterapia por la Universidad de Nueva York.
Coordinadora de Musicoterapia del ―Curso Superior de
Musicoterapia‖ Universidad Autónoma de Madrid.
ORTEGA-MONASTERIO, Leopoldo: Médico especialista en Psiquiatría. Prof.
Titular de Universidad. Miembro de la Real Academia de
Medicina de Salamanca.
POCH i BLASCO, Serafina: Doctora en Fil. y L. Internado en Musicoterapia y
Cursos Musicoterapia en EE.UU. Musicoterapeuta
Registrada (AMTA, EE.UU.). Directora de los Postgrados
de Musicoterapia UB, URL e UVA Fundadora de las
―ACMT‖ y de la ―Asociación Española de Musicoterapia‖.
RECASENS PAHÍ, Mireia: Licenciada en Psicología. Curso de Postgrado en
Musicoterapia. UB. Máster en Psicoterapias Analíticas,
UPF.- Postgrado en Psicología Infanto-Juvenil.Musicoterapeuta del Departamento de Salud Mental
del Hospital ―Ntra. Sra. de Meritxell‖ de Andorra y de la
Residencia Geriátrica ―Solà d´Enclar‖ (Andorra).
RIBA, Mª Ascensión : Curso de Postgbrado en Musicoterapia UB. Musicoterapeuta
Registrada (ACMT). Musicoterapeuta de la Unidad de Geriatría
de. Gracia. Barcelona.
VIÑAS PARRAMON, Maria: Licenciada en Psicología. Máster en Musicoterapia,
URL.-Musicoterapeuta
Registrada
(ACMT).
Prácticas
Clínicas en Hospitales de EE.UU.
Metodología
Exposición teórica del programa de cada asignatura con ayuda de medios audiovisuales y la
participación de los alumnos. La Biblioteca de la Facultad de Medicina cuenta con una
sección Bibliográfica de Musicoterapia que podrán consultar.
En Musicoterapia Aplicada, además, se utilizarán vídeos y grabaciones de sesiones de
musicoterapia.
Evaluación
Asistencia mínima exigida: 80% de las clases. Exámenes finales o la realización de un
trabajo.
Acreditación académica
Formació Continuada Les Heures (Universitat de Barcelona / Fundació Bosch i
Gimpera) expedirá un Diploma de Postgrado a aquellos alumnos que superen los
requisitos académicos.
previstos ( asistencia, exámenes finales o realización de un trabajo).
Aquellas personas que no posean titulación universitaria recibirán un diploma de
formación continua.
Matrícula
270.000 PTAS.
El importe de la matrícula no se devolverá, en ningún caso, una vez haya empezado el
curso.
Posibilidades de financiación.
Pre-inscripción
Período de pre-inscripción:
1 de junio al 30 de julio, 2001.
Importe: 15.000 PTA, deducibles del precio de la matrícula y que sólo se devolverán
en caso de no ser admitido/a.
Una vez finalizado el período de preinscripción, se considerará nula cualquier solicitud
que no haya abonado el importe de la preinscripción.
 En el momento de efectuar la preinscripción es necesario abonar las 15.000 PTA y
presentar la documentación siguiente:
- Boletín de solicitud de preinscripción debidamente rellenado
- Curriculum vitae
- Fotocopia compulsada del título universitario
- Fotocopia del DNI
- Dos fotografías tamaño carnet
Forma de pago
- Cheque nominativo a favor de la Fundació Bosch i Gimpera
- Tarjeta de crédito: Visa, Eurocard, Mastercard, Electron, EDC y Maestro
- En efectivo en la oficina de administración de Formació Continuada Les Heures (de
lunes a viernes, de 9 a 14 h y de 15 a 18 h)
- Posibilidad de financiación a través de una entidad bancaria
El importe íntegro de la matrícula se debe hacer efectivo una semana antes del inicio
del curso.
Información y/o secretaría y/o inscripciones
Formació Continuada Les Heures
(Universitat de Barcelona / Fundació Bosch i Gimpera)
Palau de les Heures. Llars Mundet
Passeig de la Vall d‘Hebron, s/n
08035 Barcelona
Tel.: 93 428 37 10 / 93 428 45 85
Fax: 93 428 63 70
D/e:
Coordinadora: Sra. Esperanza Parera
Notas
 Plazas limitadas
 Formació Continuada Les Heures no garantiza la realización de esta
actividad formativa si no se llega a un número mínimo de alumnos.
+ boletín de Solicitud de preinscripción con el título de los módulos (si tienen)
USA
Institute
25) University of Alabama,
School of Music
USA
Contact
Carol Pricket
Person
E-mail
cpricket@bama.ua.edu
1
No
2
No
2.a.
na.
3
9 semesters
4
I teach 9 music therapy courses, supervise the pre-internship practica, and keep a
close watch on the clinical internship which takes place away from our campus.
The curriculum requirements are at
http://bama.ua.edu/~cpricket//therapy/98_catalog_requirements.htm/ and the
courses I teach are those in the first segment, "Music Therapy Courses". Our
web site home page is http://bama.ua.edu/~cpricket/therapy/
5
50/50%
6
No. Since this is an undergraduate preparatory curriculum, we try to prepare
"generalists" who can later develop a special emphasis.
7
Behavioristic
8
Yes (Sometimes)
No (Sometimes)
9
Bachelor of Music, with a music therapy emphasis degree
10
We use classical, ethnic, rock, jazz, country, popular, folk, etc.
11
No
12
No. Foreign students who have passed TOEFL are welcome to enter our
curriculum, but we do not offer special courses for them.
Institute
26) Arizona State University
Professor
Main
USA
Contact
Barbara J. Crowe
Person
E-mail
Barbara.J.Crowe@asu.edu
1
No
2
No, we offer the Bachelor's degree
2.a.
To do the
post-Bachelor's equivalency in music therapy they must hold a degree in
music.
3
8 semesters plus the six-month internship
4
You can try
http://www.asu.edu/aad/catalogs/general/music.html
5
I don't know how I'd determine this. We require 4 one-hour classes in pre-clincial
or practical experience plus the six-month full-time internship. Many of our classes
have practical experiences - observations, music skill development, etc.
6
We introduce the students to the full range of music therapy practice in the US geriatrics, special needs children, medical music therapy, head injury rehabilitation,
psychiatric work, etc.
7
I introduce my students to all the models within which music therapy can be used.
8
In certain applications, it can be but it is certainly not limited to this application.
9
Bachelor of Music in Music Therapy
10
We use and teach all types of music since students need to know what music will
motivate client participation. this includes classical, jazz, world music, ethnic
music, popular and rock, rap, etc.
11
Since the US is multi-ethnic, we use it all.
12
Yes, we have a number of international students.
Institute
27) Chapman University,
California,
USA
Contact
Kay Roskam
Person
E-mail
roskam@chapman.edu
1
No
2
No
2.a.
3
9 semeseters
4
See below
5
6
No
7
Humanistic
8
No
9
BM in Music Therapy
10
We use all kinds of music.
11
No
12
No
CURRICULUM OF CHAPMAN UNIVERSITY
Bachelor of Music in Music Therapy Requirements (84 - 85 credits)
Special information for Music Therapy Majors
Music therapy is an allied health profession in witch music is used as a modality to address
the physical, psychological, cognitive, and social needs of individuals. Upon completion of
the degree Bachelor of Music in Music Therapy, which includes a six-month internship (1040
hours), an individual is eligible for certification as a Music Therapist Board Certified (MTBC) from the Certification Board for Music Therapists, and qualifies for membership with the
American Music Therapy Association. Music therapy majors must achieve at least a grade of
C- in all music therapy core courses (Mus 261, 262, 361, 362, 461. 463, and 490) in order to
satisfy degree requirements. Some classes satisfy both general education breadth requirements
and music therapy requirements (Biol 2I0 or 211, Psych 101, 323, 324, 328 and the sociology
or anthropology elective.) All music therapy majors must pass a guitar proficiency
examination, normally taken prior to the junior year.
Basic Course Requirements (25 credits)
Mus 102
Compendium of Western Music History
3
Piano – Individual or Class Instruction (piano proficiency)
4
Mus 133
Theory I
3
Mus 134
Theory II
3
Mus 222
Musical Cultures of the World
3
Mus 233
Theory III
3
Two of the following
Mus 301
Music History and Literature I
3
Mus 302
Music History and Literature II
3
Mus 303
Music History and Literature III
3
Mus 304
Music History and Literature IV
3
Requirements (59-60 credits)
Applied courses (13-14 credits)
Mus 103
Guitar
2
Mus 105
Voice Class (for non-vocalists)
1
Mus 127
Percussion Class
1
Two of the following
Mus 124
String Class
1
Mus 125
Woodwind Class
1
Mus 126
Brass Class
1
Individual Instruction in Voice or Instrument
4
Large Ensemble
4
Theoretical Courses (5 credits)
One of the following
Mus 457
Practicum in Choral Literature and Pedagogy
3
Mus 458
Practicum in Instrumental Literature and Pedagogy 3
Mus 459
Practicum in Elementary Literature and Pedagogy 3
One of the following
Mus 450
Choral Conducting I
2
Mus 452
Instrumental Conducting I
2
Music Therapy Courses (19 credits)
Mus 261
Introduction to Music Therapy I
3
Mus 262
Introduction to Music Therapy II
3
Mus 361
Introduction to Music Therapy III
3
Mus 362
Influence of Music on Behavior
3
Mus 461
Psychology of Music
3
Mus 463
Clinical Experience
1
Mus 490
Music therapy Internship
3
Courses Outside of Music (22 credits)
One of the following biology courses
Biol 210
Human Anatomy
4
Biol 211
Human Physiology
4
(One biology course may be included in the natural science general education breadth
requirement.)
Psych 101
Introduction to Psychology
3
Psych 323
Child Psychology and Development
3
(These psychology courses should be included in the social science general education breadth
requirement.)
Psych 324
Adolescence
3
Psych 328
Abnormal Psychology
3
Ed 571 Collaboration for Inclusive Schooling: Special Education 3
Elective class in anthropology or sociology
3
Institute
28) University of the Pacific
Stockton, California,
USA
Contact
David Wolfe
Person
E-mail
dwolfe@uop.edu
1
We have both an undergraduate and a graduate program in music therapy.
2
At the undergraduate level, students do not need a degree to begin the program;
however, at the graduate level, students do need a degree to begin.
2.a.
At the graduate level, students need a bachelor's degree in order to begin
graduate level course work.
3
Undergraduate education is a 4-year program plus six-month clinical internship
before the degree is conferred; graduate education can range from 3 to 4+
semesters, depending on the background of the individual student.
4
Check out our website at: www.uop.edu/conservatory
5
Theoretical=22%; Practical=78%
6
At the undergraduate level, students are taught basic music therapy principles that
apply to both children and adults populations; graduate level focus is on music
therapy in pediatrics; and wellness programs for adults.
7
Behavioral; Cognitive; Humanistic
8
Yes, It can be.
9
Bachelor of Music Degree at the undergraduate level;
Master of Arts Degree at the graduate level
10
We use all kinds of music in the education of our music therapy students.
11
Yes, we use country and folk music
12
Yes, we do accept international students within our music therapy
programs. All courses are taught in English.
Institute
29) Colorado State University,
Colorado,
USA
Contact
William B. Davis
Person
E-mail
William.Davis@ColoState.EDU
1
Both Graduate and undergraduate
2
No, they don‘t need a degree in Music Therapy.
2.a.
They need a strong background in music.
3
4-6 semesters
4
Please try www.colostate.edu then go to graduate school
5
Approximately 60/40
6
Yes, we focus mainly on.neurologic music therapy.
7
{Cognitive}
8
Depends upon the population. Sometimes yes other time no (such as with mentally
retarded)
9
Master in Music, Concentration in Music Therapy degree
10
We usually use patient preferred music
11
No
12
Yes, international students are welcome
Institute
30) Naropa University, Boulder,
Colorado
USA
Contact
Laurie Rugenstein
Person
E-mail
dlrugen@ecentral.com
1
Yes
2
Yes, they need to have completed a bachelor's degree. However, it does not have to
be a bachelor's degree in music therapy.
2.a.
A bachelor's degree which includes some specific psychology courses
(developmental psychology, abnormal psychology, methods of psychotherapy),
training in instrumental or vocal music, a working knowledge of music theory , and
a course in the history of Western music. Volunteer work with a "special needs"
population is also strong recommended.
3
Six semesters. This includes 2 semesters of internship.
4
See below and also, you can go to
www.naropa.edu. Look for Transpersonal Counseling Psychology. The music
therapy program is a concentration within this program.
5
This is impossible to answer, as most course are a combination of
theoretical/practical applications.
6
The focus is broad enough to prepare students for working with all of the
populations listed above. There is a special emphasis on counseling/psychotherapy
approaches using music therapy.
Music therapists work with a wide range of populations in this region.
7
Trans-personal
8
Yes
9
MA (Master of Arts) in Transpersonal Counseling Psychology with a
Concentration in Music Therapy
10
We use all kinds of music, including a great deal of improvised music.
11
Our students all engage in meditation practice as part of their education.
12
We have foreign students in the program, but we do not have special international
programs.
CURRICULUM OF NAROPA UNIVERSITY
Music Therapy Concentration
Three-Year Plan 2001-02
Prerequisite Courses: Developmental Psychology, Abnormal Psychology, Methods of
Psychotherapy, & History of Western Music.
Fall
Spring
Psych of Med I
3
Med Pract I
1
Developmental Psych
3
Transpersonal Psych
3
Couns. Rel. I (T&P)
MT: Hist, Th&Prac.
TOTAL
3
12
Fall
3
Couns. Rel. II (L&C)
MT: Sp Populations
3
MT Institute
1
TOTAL
11
Spring
Rsch & Stats
2
Clinical Assessment
3
Psych of Med II
2
Med Pract II
1
Group Dynamics
3
Family systems
3
Music Skills
2
Clinical Improv 2
MT Practicum I
2
MT Practicum II
2
MT Institute
1
Multicultural Issues
1
TOTAL
13
TOTAL
11
Fall
Spring
MT Pro Sem I
2.5
MT Pro Sem II 2.5
Masters Paper I
.5
Masters Paper II
.5
MT Field Place. I
3
MT Field Place. II
3
Body Awareness
2
TOTAL
8
TOTAL
6
Total Credits:
Total MT Credits: 27
61
3
Institute
31) Florida State University
Florida
USA
Contact
Jayne Standley
Person
E-mail
standl_j@cmr.fsu.edu
1
Both graduate and undergraduate
2
No
2.a.
3
8 semesters academic work and 6 month internship working 40 hr/wk in a clinical
setting under the supervision of a music therapist. The Masters Degree is 3
semesters. The Doctorate is 9 semesters after a Masters Degree and 3 years of work
experience.
4
3 YEARS APPLIED MUSIC
2 YRS CLASS PIANO
1 SEM EA. CLASS VOICE, CLASS GUITAR
2 YEARS MUSIC THEORY AND SIGHT SINGING
6 SEM ENSEMBLE
1 SEM EA ANATOMY, ABNORAML PSY, GENERAL PSY, PSY OF
EXCEPTIONAL CHILD, SURVEY OF SPECIAL ED, PSY ELECTIVE,
BEHAVIORAL SCIENCE ELECTIVE
2 SEM MATH
2 SEM ENGLISH LIT AND COMPOSTITION
2 SEM HISTORY AND SOCIAL SCIENCE
1 SEM LITERATURE
2 SEM NATURAL SCIENCE AND 1 SEM LAB
1 SEM ORIENTATION TO MT WITH PRACTICA IN COMMUN.
1 YEAR PSYCHOLOG. OF MUSIC
1 YEAR MT METHODS AND PROCEDURES WITH GROUP LAB
SIMULATIONS OF CLINICAL WORK AND PRACTICA IN THE
COMMUNITY
1 SEM MUSIC RECREATION TECH WITH PRACTICA IN COMMUNITY
6-MONTHS FULL-TIME CLINICAL INTERNSHIP
1 SEM SR. RESEARCH OR CLINICAL PROJECT
5
50%/50%
6
We train therapists as generalists in all reas of MT with special emphasis on
medical, special education and gerontology.
7
We teach all of the above but Behavioral therapy is most in demand in the US
market for MT and that is our primary thrust.
8
Yes
9
Bachelors Degree in Music Therapy,
Masters Degree in music with major in therapy,
PhD in music with major in therapy.
10
We use all music. The preference and ethnic background of the client.
11
All
12
No
Institute
32) Georgia College and State University,
Georgia,
USA
Contact
Sandra L. Curtis
Person
E-mail
scurtis@mail.gcsu.edu
1
No
2
No
2.a.
NA.
3
9 semesters undergraduate
4
You can find the curriculum at:
http://www.gcsu.edu/acad_affairs/school_healthsci/MUS_THERAPY/program.html
5
6
No. Ours is a generalist degree at the undergraduate level as are all AMTA
approved music therapy programs in the US.
7
Eclectic, Humanistic
8
Yes, when used in a mental health setting.
No, when used in a school setting and other settings for which psychotherapy
would not be appropriate.
9
Bachelor of Music Therapy degree
10
We use all types of music depending on the client interest and need.
11
No. Not at the moment.
12
Yes. We have international students in our program. As well, we offer opportunities
for our US students to development their international knowledge and experiences.
We are looking are further developing our opportunities for internation experiences/
study abroad for our students.
We are also looking at expanding the diversity of both student and faculty
populations in the future.
Institute
33) Illinois State University,
Illinois,
USA
Contact
Marie Di Giammarino
Person
E-mail
mdigiam@ilstu.edu
1
We have both undergraduate and graduate training.
2
Students do not need a degree to enter the undergraduate program. Students do
need a degree to enter the graduate program.
2.a.
To enter the graduate program, students need an undergraduate degree in music.
3
9 semesters for the undergraduate program, 4 semesters for the graduate program.
4
See below
5
3/1 in the undergraduate program + in the graduate program.
6
We work with as many different populations as possible.
7
Behavioristic, Humanistic, Trans-personal
8
It depends on the population and how music is being used.
9
Bachelor of Music (Music Therapy Sequence) - undergraduate
Master of Music (Music Therapy Sequence) – graduate
10
We use all kinds of music.
11
No
12
We have international students in our program. They take the same courses as
everyone else. There are no separate courses for foreign students.
CURRICULUM OF ILLINOIS STATE UNIVERSITY
ILLINOIS STATE UNIVERSITY
UNDERCRADUATE AND GRADUATE MUSIC THERAPY COURSES
MUS 194
PRINCIPLES OF MUSIC THERAPY
3 hours
Introduction to music as a therapeutic agent in the rehabilitation and
reorganization of the human being into social life. A survey of the history of
music therapy is included as well as the processes and principles of music
therapy as used by practicing music therapists.
MUS 294
MUSIC AND RECREATION
3 hours
Techniques and skills essential in the prescription, organization, and
procedures of leading recreational music activities within therapeutic settings.
Development of functional skills on social instruments.
MUS 298.01
PROFESSIONAL PRACTICE:
1 hour
MUSIC THERAPY INTERNSHIP
Supervised practical experience in therapeutic music situations in various
institutions in the area.
MUS 340
INFLUENCE OF MUSIC ON BEHAVIOR
3 hours
Cultural, physiological and psychological aspects of music with applications
To the music therapy field.
MUS 341
MUSIC IN THERAPY
3 hours
Theory, current practices, and research in the field of music therapy.
MUS 360
INTRODUCTION TO PSYCHOMUSICOLOGY
3 hours
Introduction to the psychology of music behavior and cognition. Topics
include music perception, memory, and learning and their relation to the
sensory, formal, and expressive properties of music.
MUS 398
PROFESSIONAL PRACTICE:
1 hour
CLINICAL INTERNSHIP IN MUSIC THERAPY
Professional application of current treatment and evaluation procedures in a
clinical setting.
MUS 460
RESEARCH IN MUSIC THERAPY
3 hours
Study of single subject design tradition with emphasis on appropriate
employment of repeated measurement techniques.
MUS 462
SEMINAR IN MUSIC THERAPY
3 hours
Study of current practices in the music therapy field with emphasis on current
literature and new directions.
MUS 465
CLIENT RIGHTS IN MUSIC THERAPY
3 hours
Study of necessary legal systems to ensure the rights of clients receiving
rehabilitative and educational services.
MUS 498
PROFESSIONAL PRACTICE IN MUSIC
1-3 hours
Provides graduate students with the opportunity to obtain supervised work
experience in music. Available as 498.01 Music Education, 498.02 Music
Therapy Internship for 1 sem. hr. ( may be repeated to a maximum of 4 hours),
498.03 Music Business for 1-3 sem. hrs.r or 498.12 Music Therapy Clinical
Project for 3 hrs. ( MUS 398 and project committee consent prerequisites for
MUS 498.12 ). Refer to General Courses.
Illinois State University
Master of Music (Music Therapy Sequence)
35 or 36 hours required
1. Music Therapy courses
MUS 460
Research in Music Therapy
MUS 462
Seminar in Music Therapy
MUS 465
Client Rights in Music Therapy
MUS 498.02 Professional Practice:
Music Therapy Internship
MUS 498.12 Professional Practice: Music
Therapy Clinical Project
or
MUS 499 Thesis
2. Supportive Courses
MUS 457
Intro. to_Bibliographic Methsods
MUS 488
Application of Historical Research
Methods to Music
or
MUS 459
Application of Systematic Research
Methods to Music
MUS 396
Musical Styles of the Twentieth Century
MUS 391-395 Choice of one course in music styles
MUS 481-488 Performing organizations
15 or 16 hrs.
3
3
3
3
3
4
20 hours
3
3
3
3
2
Additional requirements
6
Supportive field sub,iects are to be selected from 300 and 400 level courses
but not limited to the fields of Psychology, Education, Speech Pathology
and Audiology, Sociology, and Social Work. Music therapy courses at the
300 level may not be included as part of the Masters sequence.
ILLINOIS STATE UNIVERSITY
Bachelor of Music {Music Therapy Sequence)
GENERAL EDUCATION {45 hrs.) MUSIC
(50 hrs.)
Inner Core
MUS 101 Music Theory
(2)
Foundations of Inquiry
(3)
MUS 107 Basic Music I
(1)
Language & Composition
(3)
MUS 102 Music Theory
(2)
Language & Communication
(3)
MUS 108 Basic Music II
(1)
Mathematics
(3)
MUS 201 Music Theory
(2)
Naturai Sciences
(6)
MUS 207 Basic Music III (1)
Middle Core
MUS 212 Music Literature (3)
Quantitative Reasoning
(3)
MUS 216 NonWest. Mus. Lit. (2)
Language in the Humanities
(3)
MUS-103 Comp. Skills Mus. (1)
United States Traditions
(3)
One elective from:
(1)
Individuats & Civic Life
(3)
MUS 213 Jazz/Rock Aural
Individuals & Societies
(3)
MUS 214 Transcription
Outer Core*
MUS 219 Adv. Sight Singing
Knowing in the Disciplines
(6)
One elective from:
(2)
Disciplinary Knowledge in
(6)
MUS 220 Analysis/Comp.
Culture Context
MUS 221 20th Cent. Tech.
MUS 222 Th. Fd, Jazz/Rock
*Within the outer core, one course
MUS 253 Music History (3)
must have an Asian, Middle-East,
MUS 254 Music History
(3)
Africa, Latin America, or
MUS 163 Basic Conducting (2)
indigenous peoples of the world Applied Music (8)
designation and one course must
PerForming Ensenble
{7)
be completed in each of the
Nine hours from:
following disciplines:
MUS 111 High ßrass
(1)
MUS 112 Low Brass
(1)
Science, Math & Technology
MUS 113 High Strings
(1)
Fine Art
MUS 114 Low Strings
(1)
Humanities
MUS 115 Single Reed/Flute(1)
Social Sciences
MUS 116 Double Reeds (1)
MUS 117 Percussion
(1)
ADDITIONAL STUDIES (16 hrs.)
MU5.122.30 Group Piano (2)
PSY 111 General Psychology
(3)
MUS 126 Group Voice
(2)
PSY 232 Personality
(3)
PSY 346 Psych. Exc. Child
(3)
MUSIC TIHERAPY (21 hrs.)
SOC 181 Human Phys. and Anat. (4)
MUS 194 Principles of M.T. (3)
SOC 106 Intro. to Sociology
(3)
MUS 294 Music in Recreation (3)
MUS 298.01 M.T. Intern.
(3)
MUS 340 Influ. Mus. Beh. (3)
MUS 341 Music in Therapy (3)
MUS 360 Psychomusicology (3)
MUS 362 Field Data Col.
(1)
MUS 398 PP: Music Therapy (2)
Institute
34) Western Illinois University,
Illinois,
USA
Contact
Bruce Prueter
Person
E-mail
bruce_prueter@ccmail.wiu.edu
1
No
2
No
2.a.
3
8 semesters
4
See below
5
40/60%
6
No
7
Humanistic
8
Yes
9
BA degree
10
Yes, we use ―light‖ music, for eg. During meditation.
11
No
12
Yes
CURRICULUM OF WESTERN ILLINOIS UNIVERSITY
WESTERN ILLINOIS UNIVERSITY
General Education Curriculum
I. COMMUNICATION SKILLS
English 180 College Writing I
English 280 Collage Writing II
CA&S 241 Introduction to Public Speaking
9 SH
II NATURAL SCIENCES AND MATHEMATICS
10 SH
Bio 102, 103, 150, 15t
Chem 101, 102, 150, 201, 202
Geog 120, 121
Geol 110, 112, 113, 115
GH 103, 203, 204, 303
Phys 100, 101, 114, 115, 150, 197
Math 101, 102, 127, 128, 129, 131, 133, 137, 138, 139, or Stat 171
One course must be a laboratory science, one must be a math course
Music Therapy must take Bio 150 or 15t
Music Education must take Bio 150 or 151, a Math course (not math 127, 138, 139, plus two
other Sciences
III SOCIAL SCIENCE (No more than two courses from the same discipline)
9 SH
Econ 231, 232
Psy 100, 221, 250, 251
GH 102, 202, 302
Soc 100, 200, 250
Geog 100, 110
Anthro 110, 111
PoIS 101, t22, 228, 267
Music Business must take Econ 231 and Psy 100
Music Therapy must take Psy 100, Soc 100, and Psy 221 or 250 or 251
Music Education must take PoIS 122
Piano Pedagogy select Psy 100 and 221, String Pedagogy select Psy 100
IV HUMANITIES (No more than two courses from the same discipline)
9 SH
AAS
281
Art
180, 282, 283
CA&S
130, 254
Eng
195, 200, 201, 202, 205, 206, 290, 300 (after passing Eng 180) .
For Lang
Chin Fr Gr Jpn Rus Span (by placement exam unless beginning)
GH
101, 201, 301
Hist
105, 106, 125, 126, 145
Mus
190
Phil
105, 120, 140, 205
Rel
101, 201, 203
Thea
101, 110
AlI music majors must take Mus 190 or pass proficiency examination
Music Therapy majors should take Mus 195
FROM II, III, IV
6SH ot W (courses with emphasls on writing)
V MULTICULTURAL STUDIES
MUS 195
3 SH
VI HUMAN WELL-BEING (Select from at least two departments)
3 SH
Health 123
PE 115-149
MUSIC THERAPY CURRICULUM Effective Fall, 1999
Freshman Year
Mus
Mus
Mus
Mus
Mus
Mus
Mus
Eng
Mus
Mus
Mus
Mus
Mus
Mus
Mus
PE
Eng
Psy
Mus
100
180
040
110/111
190
180
230
201
280
040/050
225
280
100
002
FALL
Intr. to Mus. Ther.
Theory
Princ. Instrument
Ensemble
Piano
String Techniques
What to Listen For
College Composition __
Rec. Instruments
Field Experience
Theory
Princ. Instrument
Piano/Voice
Ensemble
Percussion Tech.
Either 118 or 149
College Comp
Intr. To Psychology
BMSA
2
3
2
1
1
1
3
16
Sophomore Year
1
1
3
2
1
1
1
1
3
3
0
17
Mus
Mus
Mus
Biol
Mus
Mus
Soc
Heal
SPRING
181
Theory
3
Princ. Instrument2
201
Field Experience 1
150
Biology
4
040
Piano
1
Ensemble
1
100 Tntr. to Sociology 3
123
Drug Use/Abuse 2
17
Mus 231 Orff/Kodaly/Dalcroze 3
Mus 201
Field Experience 1
Mus 281
Theory
3
Mus Princ. Instrument 2
Mus 040/050
Piano/Voice 1
Mus
Ensemble
1
Mus 234 Advanced Guitár 2
PE 290 Anatomy & Physiology 3
Mus 221/222
Woodwind Tech. 1
17
Junior Year
2
Mus 471
Psych. of Music 2
3
Mus 371
Music History 3
3
Mus Princ. Instrument 2
Mus
2
Mus
Ensemble
1
Mus
1
Mus 300
Conducting
2
Mus 195
3
Mus 402 Influence of Mus. 2
Mus 401
2
Psy
Elective
3
Univ
007
0
Mus 223/224 Brass Techniques
1
16 16
17
Senior Year
Soc/Anth
Elective
3
Math/Science Elec 3
Mus 309
Arranging
2
Psy 425
Psy. of Except. Ch
Mus 404
Music in Therapy
2
OR
Mus
Elective*
4
SpEd 310 Exceptional Child 3
Psy 424
Abnormal Psych.
3
Mus 405 Music in Therapy 2
Math/Scíence Elec.
4
CA&S 241
Public Speaking 3
_
Humanities Elect. 1
18
14
Mus 409 Internship, 4-12 credits, taken after all course work.
Mus
Mus
470
370
Psych. of Music
Music History
Elective
Princ. Instrument
Ensemble
Amer. Pop. Music
Influence of Mus.
Writing Exam
Institute
35) St. Mary of the Woods College,
Indiana,
USA
Contact
Tracy Richardson
Person
E-mail
TRICHARD@smwc.edu
1
We offer an undergraduate program in music therapy (for those with no degree. We
also offer an equivalency program (for those with a bachelors degree in music), and
a masters degree (for those who are already qualified music therapists....MT-BC,
CMT, RMT, etc)
2
2.a.
3
Undergraduate education takes about 8 semesters; equivalency takes about 6
semester; graduate takes 5 semesters (plus 2 summers)
4
Our curriculum is on our website: www.smwc.edu
5
6
The undergrad and equival. programs are general preparation; the graduate program
focuses on music psychotherapy and music in medical settings. In our
region, music therapists are working in all settings. Our graduate program is in
the distance learning format (students come to campus only at the beginning of
each semester for 4 days, and for a week in the summer)
7
We do not ascribe to one field of thought; we let students explore what fits them
best
8
Yes
9
BS in music therapy
MA in music therapy
10
We use all kinds of music
11
No
12
Our school does help international students who want to come and study at our
college
Institute
36) University of Evansville,
Indiana,
USA
Contact
Wylie, Mary
Person
E-mail
mw26@evansville.edu
1
No
2
No
2.a.
3
8 semesters on campus followed by a 6 months internship, which is approximately
1 & ½ semesters.
4
The list of the courses can be found on the University of Evansville, Department of
Music web page. The address is: http://music.evansville.edu/.
Students complete a total of 19 semester hours in core Music Therapy courses.
5
Approximately 68% of course work is theoretical and 32% practical.
6
No one field of Music Therapy is emphasized. We introduce students to many
populations (such as the elderly, developmentally disables, physically disabled,
emotionally disabled, sensory impaired, multiply disabled, or hospice. Theories and
techniques for working with these various populations are presented.
Music therapists in Indiana work with several populations. I would estimate a little
of 50% of the music therapists in the state work with children, adolescents or adults
with mental illness or emotional disabilities.
7
I use ideas from behaviorism, cognitive and humanistic approaches most often.
8
Yes
9
Bachelor of Music in Music Therapy
10
Neither – we use many types of music including classical, rock, country etc.
11
No
12
We have international students in our program, but they do not follow any special
curriculum.
Institute
37) University of Iowa, Iowa,
USA
Contact
Kay Gfeller
Person
E-mail
kay-gfeller@uiowa.edu
1
We have both an undergraduate degree program as well as graduate (masters and
doctorate) studies.
2
In order to start the masters, they must first have an undergrad degree in music
therapy or complete the course requirements for certification as a music therapist
before taking graduate level classes.
2.a.
See response to prior question.
3
MA takes about 4 semesters as a full time student IF they have an undergrad degree
in music therapy.
4
Go to www.uiowa.edu and the go to the College of Liberal Arts link, then to
the School of Music link. There you will find under the various degree options the
degree requirements for music therapy.
5
We include a number of research and stats courses as well as music therapy
application courses, and they include both theory as well as practical uses of stats,
so I don't feel I can give you a very clear proportional break down. We feel that
practice should be based in good theoretical foundations, so we usually link the two
in our grad classes rather than having theory classes separately.
6
Our areas of specialization at the graduate level include music therapy with
people who have significant hearing losses, music therapy in special education,
clinical supervision, music therapy with older adults, and music therapy with
emotional disorders. We cover other areas, but I consider these to be our strongest
areas.
7
We include all of these in some fashion as we discuss different theoretical
foundations and related music therapy interventions. We probably best fit under the
general category of eclectic or integrative in our approach. We consider it
important that our students have exposure to all of these, and that they are able to
analyze for themselves the relative strengths, limitations, and most appropriate
applications of each of these.
8
It depends upon how you define "psychotherapy." Therefore, I don't want to
give a simple yes or no response.
9
1. Bachelor of Music (music therapy area)
2. Master of Arts in Music Therapy
3. Ph.D., in music education with an emphasis on music therapy
10
We emphasize the importance of sensitivity to the client's musical background and
culture in selecting music for use in application. Thus, we would encourage our
students to use a wide range of styles and music from many different cultures.
11
I don't understand the question.
12
Foreign students can apply for our program in the same manner as US students. We
currently have several foreign students enrolled in our undergrad and grad
programs.
Institute
38) University of Louisville
Louisville,
USA
Contact
Barbara L. Wheeler
Person
E-mail
barbara.wheeler@louisville.edu
1
No
2
No
2.a.
3
9 semesters (8 semesters + 6-month internship)
4
See: http://www.louisville.edu/music/degrees/bm_therapy.html
5
I do not calculate this normally -- and many of the subjects are outside of music
therapy as this is part of a general education bachelor's degree. I do not think that it
is so meaningful, given these facts, as it is in programs where students come ONLY
to study the music therapy subjects. You could use an average of what other U.S.
schools have said for undergraduate programs as they are all rather similar.
6
We try to offer a balanced curriculum as students may work in any area. Music
therapists in this region work in all areas, I believe.
7
Eclectic – we feel that we need to prepare students to work using various models.
8
Yes, sometimes.
9
Bachelor of Music degree
10
We use a range of music types.
11
Not very much – perhaps some emphasis on country and/or religious music, but
this is not particularly indigenous to this region.
12
No special ones at this point – I hope to develop some international exchange
programs in the future.
Institute
39) Anna Maria College,
Boston, Massachusetts; U.S.A
Contact
Lisa Summer
Person
E-mail
lsummer@annamaria.edu
1
No, it is only undergraduate
2
2.a.
3
9 semesters
4
Please see below
5
30/70 %
6
Yes, we focus mainly on special education and elderly -- this is not because of the
region. It is because it is my belief that undergraduate work takes place best with
these clientele.
7
Psychoanalytic and Humanistic
8
Yes
9
Bachelor of Music with a major in music therapy degree
10
For private lessons and in theory, ear training, the students are trained by the music
department solely in classical. But in music therapy classes we utilize all genres of
music.
11
No
12
Yes
CURRICULUM OF ANNA MARIA COLLEGE
Division of Human Development and Human Services
Degree Requirements for the B.M. in Music Therapy: 4/01
Core Course Requirements (22 courses/66 credits)
CC 101
Core I Seminar: Civitas I
CC 102
Core I Seminar: Civitas II
CC 103
Critical Thinking & Writing
CC 104
Critical Thinking & Writing
CC 201
Core II Seminar: Seeking Community I
CC 202
Core II Seminar: Seeking Community II
______
Core III Seminar: Seeking Justice Type I
______
Core III Seminar: Seeking Justice Type II
______
Core IV Seminar: Seeking Integration I (MT Internship)
______
Core IV Seminar: Seeking Integration II (MT Internship)
CC 203
Quantitative Reasoning I
Quantitative Reasoning II (Experimental Research – tentative)
______
CC 204
Technological Literacy I
______
Technological Literacy II (Computer Music - tentative)
______
Language
______
Language
______
KA Div. I
______
KA Div. II
KA Div. III (New ―Human Development Across the Lifespan I‖)
______
______
KA Div. IV
______
KA elective (New ―Human Development Across the Lifespan II‖)
______
KA elective
Music Requirements (44 Credits)
MUxxx
Major Performance Area
8
MUxxx
Ensembles
8
MT 101-102, 201-202 Music Theory I-IV
12
MU149-150, 249-50
Ear Training and Musicianship I-IV
6
MU105-106
Piano Class I-IV
4
MU255-256
History of Music I-II
6
Music Therapy Requirements (21 Credits)
MTxxx
MTxxx
Clinical Music Skills I-IV (100-200 level)
Music Therapy Field Placement I (300 level)
12
1
MTxxx
Music Therapy Field Placement II (300 level) 1
MTxxx
Music Therapy I (300 level)
3
MTxxx
Music Therapy II (300 level)
3
MTxxx
Music Therapy Internship I (400 level)
3 (under core)
MTxxx
Music Therapy Internship II (400 level)
3 (under core)
HDxxx
Human Development Across the Lifespan I-II
6 (under core)
PS201
Introduction to Psychology
3
ED336
Psychology of the Exceptional Child
3
PS 360
Abnormal Psychology
3
Total for Music Therapy Program = 137 Credits within 4 ½ Year
(average 15 credits/semester)
Institute
40) Berklee College of Music in Boston,
Massachusetts,
USA
Contact
Suzanne Hanser
Person
E-mail
shanser@berklee.edu
1
No, it is an undergraduate degree, but we have several students who already hold
degrees (including three current students with medical degrees from around the
world).
2
No
2.a.
3
8 semesters plus 1040 hours of clinical internship
4
Website lists all courses; see www.berklee.edu
5
Approximately 50% 50%
6
No, it is a sampling of many clinical applications.
7
Behavioristic; yet we certainly consider ourselves humanistic, and cover the other
philosophies
8
Yes
9
Bachelor of Music
10
No, we specialize in contemporary music, jazz, improvisation, popular styles and a
variety of genres, including classical.
11
No
12
Yes, almost 50% of our students are from outside the USA.
Institute
41) Lesley University
Cambridge,
Massachusetts,
USA
Contact
Michele Forinash
Person
E-mail
mforinas@mail.lesley.edu
1
Yes our program is graduate training (Masters degree in the USA)
2
Yes. Students who enter our program must have a bachelors degree. This can be an
undergraduate degree in this country or the equivalent from another country. When
students apply their transcripts are evaluated by our international student services to
determine if it is the equivalent of an undergraduate degree. Students usually have
their undergraduate degree in music or sometimes psychology. Occasionally
students come with a degree in something else (philosophy etc) but they are
musicians.
2.a.
I think I have answered this in the previous question, but let me state that if their
degree is not in music, they must have some kind of music background
3
It is a 63 credit masters program. Students usually complete it in 2 years which
would include 2 fall semesters, 2 spring semesters, at least one
January mini semester (all the required hours of a class offered in a week long
intensive) and usually one summer semester.
4
You can access our curriculum by going to the Lesley home page at
www.lesley.edu then go to faculty home pages and click on the home page of
Karen Estrella. From there you can access the info on the music therapy
specialization.
5
Almost all theoretical classes have some experiential componenet in them.
In general I would say that about 30% is focused on the theoretical and 70%
on either clinical or practical application.
6
No, there is no one main focus. We have a large field training component in this
program. Students complete 1050 clinical hours as part of the program. Our clinical
sites vary and I wouldn't say that we have one area that we focus on. Our sites
include: early intervention with children 0-3, children in schools, children in
psychiatric or medical facilities, adolescents in schools or in residentials facilities,
adults in day treatment or institutionalized and geriatrics. So we use a wide variety
of sites
7
Psychoanalytic and Humanistic primarily
8
Yes
9
Master of Arts degree (MA)
10
We use all kinds of music. Both classical and light and improvisation etc.
11
I am not sure what you are asking in this question.
12
Many of the students we train here are from other countries. This year of 27
students I have 8 Asian students, 1 Italian student and one student from India.
Some of them plan to remain here to work and some plan to return to their home
country to practice. We try to always address how it is to train in one culture and
then practice in a different one. This is a very important topic and needs much more
focus here in the USA.
Institute 42) Eastern Michigan University,
Michigan,
USA
Contact
Michael McGuire
Person
E-mail
Michael.McGuire@emich.edu
1
No
2
No
2.a.
The program is not postgraduate education.
3
8 - 10 semesters
4
Introduction to Music Therapy 2 cr hours
Pre-clinical Training Practicum I 1 cr hr
Pre-clinical Training Practicum 2 1 cr hrs
Methods and Materials in Music Therapy 2 cr hrs
Principles of Music Therapy I 4 cr hrs, includes principles, pre-clinical
practicum and improvisation
Principles of Music Therapy II 4 cr hrs, includes principles, pre-clinical
practicum and improvisation
Psychology of Music I: Theoretical basis 2 cr hrs
Psychology of Music II: Research in Music Therapy 2 cr hrs
Pre-clinical Training Practicum III 1 cr hr
Pre-clinical Training Practicum IV 1 cr hr
Clinical Training in Music Therapy 2 cr hrs
http://www.emich.edu/public/catalogs/current/acaf/colleges/coa/mus/ugrad/major/musther.html
5
64% theoretical/36% practicum
6
No, the music therapy program at Eastern Michigan University is an undergraduate
degree, which by nature is a general degree. Emphasized are music therapy
clinical approaches with children with various dysfunctions, adults with mental
disorders, adults with developmental disabilities, and older adults with dementia.
In my opinion, there is no main field for music therapists in my region or in the USA. There
are a variety of approaches practiced throughout the state, region and country.
7
Humanistic
8
It can be, certainly. However, at the undergraduate level, it is not appropriate to teach it as
such. At the undergraduate level, it is more appropriate to teach young music therapists to work
in a supportive manner rather than as psychotherapists.
9
Bachelor of Music Therapy degree
10
Neither choice is appropriate for the degree work at Eastern Michigan
University. We use a variety of musics: classical, rock, popular, folk, and ethnic
11
No
12
Yes. The courses for international students are the same as the courses for all students in the
Bachelor of Music Therapy Degree Program.
Institute
43) Western Michigan University, Kalamazoo,
Michigan,
USA
Contact
Brian Wilson
Person
E-mail
brian.wilson@wmich.edu
1
Both undergraduate and graduate degrees are offered.
2
No
2.a.
3
8 semesters (undergraduate)
3-4 semesters (graduate)
4
Curriculum for both degrees is located at www.wmich.edu/music
5
A difficult question to answer as theory and practical application (clinically) are
intertwined throughout the curriculum.
6
Both programs offer an eclectic orientation in order to prepare students for the wide
diversity of clinical populations served by music therapists.
7
We attempt to be eclectic while stressing documentation and accountability.
Therefore, we might fall more under the behavioral domain although certainly not
exclusively so.
8
Yes
9
B.M. or M.M.
10
We use a range of music in our clinical work ranging from classical to
contemporary.
11
Not really although we certainly incorporate American folk and patriotic songs
with certain clientele.
12
Currently about 15 % of our students are international, primarily from Pacific RIM
countries.
Institute
44) Augsburg College,
Minneapolis,
Minnesota
USA
Contact
Roberta Kagin
Person
E-mail
kagin@mail.augsburg.edu
1
No however, we hope to begin a graduate degree in the near future
2
2.a.
They need a six month internship, after the 4 years of college study.
Preliminary training would be the basics of music and psychology
3
8 semesters plus a six month internship
4
Try our website, www.augsburg.edu/music
5
80../.20...% however, during the clinical internship, the ratio for the practical would
be much higher than for the theoretical.
6
Because this is an undergraduate degree, I give the students a broad overview of the
field. they may then specialize when they go into their internships
7
We introduce all of the above concepts, but do not specialize in one or the other perhaps we are more involved in the humanistic area than any others
8
9
B.S. degree
10
All areas are introduced to the students for music therapy - their musical training,
however, is primarily classical
11
Native American would be our primary culture in this region
12
I have some Norwegian students in my class, but not as majors.
Institute
45) University of Minnesota,
School of Music
Minneapolis, Minnesota,
USA
Contact
Todd Schwartzberg
Person
E-mail
mtoffice@tc.umn.edu
1
No
2
No
2.a.
3
Approximately 8 semesters at the bachelor's level, not including the 6-month
internship.
4
The curriculum covers music theory, music history, psychology, psychology of
music, anatomy, biology, clinical studies of music therapy, musical instrumental
instruction, and theories of music therapy and uses in various populations.
5
I am not sure what the question is asking, sorry.
6
Yes, we focus on all aspects of various populations in which music therapists may
work, including but not limited to: schools, long-term care facilities, hospitals,
rehab centers, hospice care, and psychiatric facilities.
7
Behavioristic
8
No
9
- bachelor's of arts in music ed/music therapy
- masters of education in music therapy
- doctor of philosophy in music--emphasis in music education in music therapy
10
Not sure what the question is asking, sorry...however, I believe that preference in
musical style is different for each person and should always be taken into account.
11
No, no special field of education, but we do incorporate music from our culture
when working with clients from our culture, if that is what the clients preference is.
12
All of our courses are open for students from over seas to take.
Institute
46) William Carey College,
Mississippi,
USA
Contact
Paul Cotten
Person
E-mail
drcotten@netdoor.com
1
No
2
No
2.a.
3
We are on a trimester system so it is 6 trimesters which would be 4 semesters
This is the time for the music therapy courses in addition to a 6 month internship.
As you will see from the catalogue & curriculum outline it takes a total of 4 years
plus internship to be eligible for graduation & eligibility to sit for the national
certification exam.
4
Send me your address & I will send you a catalogue of the College as well as an
outline of the curriculum. As you will see there are a number of courses which are
taught in other departments so you would need the catalogue to see the old thing.
5
Ratio would be approximately 90/10.
6
The training at the undergraduate level is generic in nature. We want to expose the
students to a variety of settings with various populations across the age span from
infants to persons who are elderly. My particular background and experience is
primarily with persons with mental retardation and persons who are elderly with &
without mental retardation. The jobs our graduates have are in schools, residential
settings for children & adults, psychiatric hospitals, as well as with geriatric
populations.
7
Behavioristic. I am primarily behaviorally oriented but work on helping my
graduates to be eclectic. Not only do I teach the music therapy courses I also teach
the abnormal psychology course which the students take.
8
Yes, if psychotherapy is broadly defined with emphasis on non-verbal
communication. If limited in definition then no.
9
B.M.Ed
10
Since our students work with populations coming from a variety of psychosocial
settings it is necessary that they be familiar & comfortable with a wide variety of
music. I tell them they must know music from "Bach to rock" including folk songs,
religious music, etc. It depends upon the population & the goals on which you are
working as to the type of music you use.
11
This question is unclear. I may have answered it in the above question.
12
Yes X if their ability to communicate, both in writing as well as in speaking, in
English & possess an excellent foundation in music theory enables them to be
successful. We've had other international students at the college who did not
possess such & I felt it was unfair to them as well as the professor to expect them to
compete with people proficient in English. I would want to interview them either in
person or via telephone conversation before I would recommend admission.
Institute
47) Maryville University
St. Louis,
Missouri,
USA
Contact
Rosalie M. Duval
Person
E-mail
admissions@maryville.edu
1
Not at this time. We hope to begin a graduate program within the next three years.
2
Ours is an undergraduate degree. A previous degree is not required. Our students
earn an undergraduate degree.
Some students come to us with a previous degree. They are then what we call
"equivalency" students and take only the music therapy courses.
2.a.
3
8 or 9 semesters
4
I will attach a degree planning sheet.
5
45% Music / 15% Music Therapy..
I would say that about half of the courseload is theoretical: music theory,
counseling theory, music therapy based theory.
6
We have an active community of clinicians working in a wide variety of
populations: geriatric, special education, mentally retarded, psychiatry,
physical rehabilitation, blind, deaf, autistic, chemically dependent.
7
We try to make the students aware of all the psychological schools. The faculty
varies from person to person.
My own emphasis would have me lean toward Jungian and Transpersonal.
8
Yes. I consider music therapy a unique form of psychotherapy.
9
Our students earn a BS in Music Therapy (Bachelor of Science)degree. Our
program is in the School of Health Professions.
10
We use all styles of music, depending on the setting, the goals, the
population etc.
11
No
12
We have international students. Presently we have two from Japan and one from
China.
Institute
48) University of Missouri-Kansas City,
Missouri,
USA
Contact
Robert Groene
Person
E-mail
GroeneR@umkc.edu
1
Yes
2
Yes
2.a.
Already a music therapist with a master's degree, applying to our
Interdisciplinary PH.D Program
3
Depends on the individual
situation.
4
Go to www.umkc.edu to find the online catalog.
5
Varies depending on the degree and student options.
6
We cover the entire gamut of age and populations as much as possible.
7
Eclectic
8
It could be, but not necessarily the only form.
9
BA, MA, Ph.D
10
No, we are eclectic.
11
Alzheimer's
12
We have international students.
Institute
49) Molloy College,
New York,
USA
Contact
Evelyn Selesky
Person
E-mail
eselesky@molloy.edu
1
No
2
No
2.a.
3
8 semesters
4
See below
5
80/20%
6
No, we train students in an overview of all areas.
7
Humanistic
8
Yes
9
B.A. degree
10
No, we train students in all styles of music: classical, jazz, rock, country, rap, etc.
as well as different modes for improvisation.
11
No
12
Yes
CURRICULUM OF MOLLOY COLLEGE
MUSIC THERAPY REOUIREMENTS (48-49 credits)
Mus 283 M.T.Lab
2
Mus 158 Intro to Mus Therapy
3 cr.
Mus 215 Keyboard Harmony
3 cr.
Mus 274 M.T. Theories & Meth. I
4 cr.
Mus 275 M.T. Theories & Meth. II
4 cr.
Mus 376 Clinical Prob. In M.T. I
2 cr.
Mus 377 Clinical Prob. In M.T. II
2 cr.
Mus 378 Clinical Improvisation
3 cr.
Mus 382 Adv. Clinical Improvisation
3 cr.
Mus 110/106 Class piano/guitar
3 cr.
Psy 111 General Psych.
3 cr.
Psy 204 Develop. Psych
3 cr.
Psy 326 Abnormal Psych.
3 cr.
Psy 353 Personality
3 cr.
Mus 460 M.T. Internship I
3 cr.
Mus 461 M.T. Internship II
3 cr.
Mus 390 Special Topics
1-2- cr.
MUSIC REQUIREMENTS (31 CREDITS)
Mus 101 Theory & SSI
2 cr.
Mus 102 Theory & SS II
2 cr.
Mus 204 Theory & SS III
2 cr.
Mus 206 Theory & SS IV
2 cr.
Mns 199 History of Mus I
3 cr,
Mus 200 History of Mus II
3 cr.
Mus 112 Harmony I
3 cr.
Mus 213 Harmony II
3 cr.
Applied Instrument (8 cr.)
Ensemble (3 cr.)
CORE REQUIREMENTS (55 CREDITS)
Art History
3 cr. (129, 220, 223, 224, 225, 228, 230, 232)
English 110
3 cr. (College Composition)
English
3 cr. (Literature)
l.anguage
3 cr.
Language
3 cr.
Comm. Arts
3 cr. (110, 112, 114, 124, 138, 156)
History
3 cr. (All except HIS 256)
Political Science
3 cr. (A1 except POL 104)
Sociolosy
3 cr. (101, 152, 161, 166)
Mathematics
3 cr. (110, 115, 116, 118, 119, 120, 125)
Science
3 cr. (Bio 110, 112, 114, 120, 126, Chem 101, 102, PHS
111, 115, 120, 125, 150)
Music & Computers OR
Math/Sci/ Comp. Sci.
3 cr.
Philosophy
3 cr. (PHI 100)
PHI 265/266
3 cr.
Philosophy
3 cr. (Ethics-190, 255 or 256; transfers see catalogue)
Theology
3 cr. (THEO 100 or 101)
Theology
3 cr. (On 200 level)
Theology
3 cr. (Ethics - Theo 27S or 280)
Physical Education
l cr.
FST
1 cr.
Institute
50) SUNY-New Paltz,
New York,
USA
Contact
Mary Boyle
Person
E-mail
MBoyle1046@aol.com
1
No, it is not graduate training.
2
No
2.a.
NA.
3
16 semesters - an undergraduate degree. OR a second undergraduate degree which
is at least 30 semester hours. (2 semesters)
8[8]
4
We haven't got this on the website, but I will send it to you by snail mail.
5
Depends upon whether you are considering only music therapy courses or others.
In terms of music therapy. Out of 24 semester hours, approximately 15 are practical
and 9 are theoretical.
No, we focus on several areas, each semester students may choose from at least 6
6
different types of clinical practica.
7
Behavioristic
8
If you consider behavior analysis to be psychotherapy, yes.... otherwise, no.
9
B.S. in Music Therapy
10
We use whatever a client likes - rap, heavy metal, new age, classical, etc.
11
No
12
They are not specialized to other countries, but we have many foreign students.
8[8]
Note of J.K.: I haven‘t got it.
Institute
51) Appalachian State University,
North Carolina,
USA
Contact
Cathy H. McKinney
Person
E-mail
mckinnych@appstate.edu
1
Entry-level in music therapy is undergraduate training. We are in the process
of developing a master's degree to prepared music therapists for advanced
clinical practice in music therapy.
2
No
2.a.
Students must be academically qualifed to be admitted to the university and pass
an audition for admission to the School of Music.
3
The undergraduate degree requires 8 semesters of courses and clinical
preparation for a 1,040-hour minimum internship (6 months, if 40 hours/week).
Students who already hold bachelors degrees in music can complete the
requirements (called an "equivalency") in 4 semesters plus the internship.
4
The curriculum is attached both for undergraduates and equivalency students. See
below.
5
It is not so simple to answer this question for two reasons. First, I believe
that it is essential to integrate theoretical and practical so that practice is
based in the theory and research and theory is grounded in practice, so most of
our theoretical courses have practical components and the practical (practicum)
has requirements for reviewing literature and relating it to the clinical
setting. Second, the credit hours often do not reflect the time required of the
respective parts. However, in terms of credit hours, of 27 semester hours in
music therapy and music therapy-specific music skills (clinical improvisation,
functional piano, functional guitar), 6 are for practicum. Please note that
while the 6-month internship is required, students earn no academic credit for
this intensive practical experience.
6
Our students are prepared for a broad practice in the field with courses and
clinical experiences related to children with all types of developmental
disabilities, adults with mental disorders, older adults and others in the health care
system, including medical and hospice settings.
7
The school is eclectic with perhaps more focus on humanistic and cognitivebehavioral than the others, although all of these are studied. The students do learn
the language and basic principles of behavior modification and the theoretical
constructs underlying psychoanalytic therapy, but these are secondary to the
others listed. Transpersonal is touched upon, especially related to the Bonny
Method of GIM, but also related to some other areas of work with exceptional
individuals.
8
Music therapy certainly can be a form of psychotherapy (that is my personal
focus in my clinical practice) but is not limited to psychotherapy. For
example, in neurologic rehabilitation, music therapy may be more closely related
to physical and occupational therapy than to psychotherapy; in applying music to
help children with learning disabilities learn, music therapy is more closely
related to education.
9
A Bachelor of Music in music therapy.
10
It is essential that students be well rounded musicians and that includes their
ability to understand and play various styles of music. All students in the
School of Music study western classical music extensively in their music history
and literature classes, in music theory, in their applied lessons on their
principal instrument, and in most ensembles. In music therapy classes,
particularly in the functional piano and guitar classes, the repertoire
developed is all non-classical, including folk music, rock, pop, country, and
other "light" styles.
11
I do not understand this question. We do have an elective course in Appalachian
Music, that is music of the Appalachian Mountain region, much of which is
bluegrass.
12
The university welcomes international students and I had many international
students in the music therapy program where I previously taught (University of
Miami). We have not yet had an international student in this program. (We are
in our 5th year.)
CURRICULUM OF APPALACHIAN STATE UNIVERSITY
Appalachian State University, North Carolina, USA
Bachelor of Music, Music Therapy, Recommended Course of Study
Fall (16 s.h.)
Spring (16 s.h.)
MUS 1001-1007
4C
MUS 1002-1008
4C
Applied Music
2
Applied Music
2
Ensemble**
1
Ensemble**
1
MUS 1040*
1
MUS 1041*
1
MUS 2050
2
MUS 2051
1
PSY 1200
3
MUS 1611
2 W, MC
ENG 1000
3
ENG 1100
3
MUS 1500
0
HP 1105 or DAN 1400
2
MUS 1500
0
Fall (16 s.h.)
Spring (16-17 s.h.)
MUS 2001-2007
3C
MUS 2002-2008
3C
Applied Music
2
Applied Music
2
Ensemble**
1
Ensemble**
1
MUS 2611
2W, MC, CD
MUS 2612
2W,
MUS 2040*
1
MUS 2041*
1
MUS 1042
1
MUS 1043
1
MUS 3900
1
MUS 3900
1
MUS 1037***
1
SPE 4595 or SPE 3370
2-3
Math
4
PSY/HPC Elective
3
MUS 1500
0
MUS 1500
0
CD
Fall (15 s.h.)
MUS 3050
Spring (16-17 s.h.)
3S
MUS 3002
2
MC,
MUS 3020
1
MUS 3051
3
MUS 3900
1
MUS 3900
1
MUS 3060
1
MUS 3061
1
PSY 2401
3
Elective
2-3
BIO 1101
4 ND
BIO 1102
4ND
MUS 3611
2 W, MC, CD
HIS 1102
3
MUS 1500
0
MUS 1500
0
Fall (17 s.h.)
Spring (14-16 s.h.)
MUS 4050
3
MUS 4051
3
MUS 4060
1
MUS 4061
1
MUS 3900
1
MUS 3900
1
M/MT Elective
3
Humanities
3
HIS 1101
3
Literature
3
FDN 4600 or STT 2810
3
(SPE 4571
2)
Sociology/Anthropology 3
M/MT Elective
3
MUS 1500
MUS 1500
0
0
*Not required of piano and organ principals
**See Appropriate Ensemble
***Not required of voice principals
This degree also requires the successful completion of a six-month internship in an approved clinical
training site [MUS 4900/(0)].
2002-2003
Bachelor of Music-BM
Checksheet for Music Majors
Non-Teaching
Music Therapy
Major Code - 553 A
I.
General Education Requirements .............................................................................................. ..................
30
6 s.h. of Music History will count towards the humanities requirements
Psychology 1200 (3 s.h.) and SOC or ANT (3 s.h.) will count towards social science requirements
Health Promotion 1105 or Dance 1400 (2 s.h.) will fulfill the Physical Activity/Wellness
requirement
II.
Major Requirements .............................…..................................................................................................
75
A. Music Theory (16 s.h.) ["C-" (1.7) requirement in all except MUS 3002
MUS 1001 Music Theory I (2) ______
MUS 10007 Aural Skills I (2) _____
MUS 1002 Music Theory II (2) _____
MUS 1008 Aural Skills II (2) _____
MUS 2001 Music Theory III (2) _____
MUS 2007 Aural Skills III (1) _____
MUS 2002 Music Theory IV (2) _____
MUS 2008 Aural Skills IV (1) _____
MUS 3002 Music Theory V (2) ______
B. Music History and Literature (8 s.h.)
MUS 1611 Survey of Musical Style (2)
MUS 2611 Music History/Lit. I (2) ______
MUS 2612 Music History/Lit. II (2)
MUS 3611 Music History/Lit. III (2) _____
C. Applied Principal (8 s.h.)
AMU 1401-1499 (4 s.h.) ______ _____ AMU 2401-2499 (4 s.h.) _____ _____ Level III _____
D. Secondary Applied (4-8 s.h.)
*MUS 1040 Piano Class I (1) _____
*MUS 1041 Piano Class II (1) _____
*MUS 2040 Adv. Piano Class I (1) _____ *MUS 2041 Adv. Piano Class II (1) _____
MUS 3060 Functional Piano (1) ______
*Piano Proficiency _____
MUS 1037 Voice Class (1) _____ [Not required of voice principals]
MUS 1042 Guitar Class I (1) _____
MUS 1043 Guitar Class II (1) _____
*Not required of piano or organ majors
E. Other Music Courses (8 s.h.)
MUS 3020 Conducting (1) _____ MUS 3061 MT Functional Techniques (1 s.h.) _____
MUS 4060 Clinical Improvisation I (1 s.h.) ____ MUS 4061 Clinical Improv. II (1 s.h.) _____
Appropriate Ensembles (4 s.h. minimum)
_____
_____
_____
_____
MUS 1500 Performance Seminar each semester except during internship.
_____
_____
_____
_____
_____
_____
_____
_____
F. Music Therapy (21 s.h.) ["C" (2.0) minimum in all Music Therapy courses]
MUS 2050 Intro to MT (2) _____
MUS 2051 MT Clinical Skills (1) _____
MUS 3050 Developmental MT (3) _____
MUS 3051 MT in Mental Health (3) _____
MUS 4050 Psychology of Music (3) _____ MUS 4051 MT in Health Care (3) _____
MUS 3900 MT Practicum (6) ____ ____ ____ ____ ____ ____
MUS 4900 MT Internship (0) _____
G. Music and Music Therapy Electives (6-10 s.h.)
Music and Music Therapy Electives must be approved by the music therapy advisor.
____________________ _______
____________________ _______
____________________ _______
____________________ _______
III. Clinical Foundations....................…............................................................................... ............................... 2021
PSY 1200 General Psychology (3) _____
PSY/HPC Elective (3) _____
PSY 2401 Abnormal Psychology (3) _____ FDN 4600 (3) ______ or STT 2810 (3) _______
SOC 1000, 1110, 2850, or ANT 1215 (3) _____HP 1105 Health and Fitness (2) or DAN 1400 (2) _____
SPE 4595 (3)
OR [SPE 3370 (2)
& SPE 4571 (2) _____]
IV. Free Elective (to total a minimum of 128 s.h.) .............................................................................. ....................
2-3
Total .....................................................................…................................................................................................
128
Appalachian State University
Music Therapy Equivalency
Students who hold a Bachelor‘s degree and are interested in becoming board certified
music therapists are eligible to complete an equivalency in music therapy. In pursuing
the equivalency, the student completes those courses required to sit for the national
examination administered by the Certification Board for Music Therapists. The student
who holds a Bachelor of Music degree does not complete another degree. The student
who holds a Bachelor‘s degree other than a Bachelor of Music (e.g., Bachelor of
Science, Bachelor of Arts, etc.) will be awarded the Bachelor of Music degree upon
satisfactory completion of internship.
The following courses are required to for the Equivalency in Music Therapy:
Music Therapy (21 semester hours)
MUS 2050 (2)
Introduction to Music Therapy
MUS 2051 (1)
Music Therapy Clinical Skills
MUS 3050 (3)
Developmental Music Therapy
MUS 3051 (3)
Music Therapy in Mental Health
MUS 3900 (6)
Music Therapy Practicum
MUS 4050 (3)
Psychology of Music
MUS 4051 (3)
Music Therapy in Health Care
MUS 4900 (0)
Internship
General Music
Music Theory and Arranging (5 semesters required)
Music History and Literature (2-4 semesters required)
Performance on Principal Instrument/Voice (Determined by competency level)
Secondary Applied – Piano (4), Voice (1), Guitar (2)
Ensembles (4 semesters required)
Functional Music and Conducting (5 semester hours)
MUS 3060-3061 (1-1) Music Therapy Functional Techniques
MUS 4060-4061 (1-1)
MUS 3020 (1)
Clinical Improvisation
Conducting
Psychology and Psychological Counseling (minimum 15 semester hours)
PSY 1200 (3) General Psychology
PSY 2401 (3)
Abnormal Psychology
Psychology or Counseling Electives
Human Biology or Human Anatomy (minimum 1 course required)
Characteristics and Needs of Exceptional Children (minimum 1 course required)
Institute
52) University of North Dakota
North Dakota,
USA
Contact
Therese Costes
Person
E-mail
thcostes@home.com
1
No
2
No
2.a.
They don't need therapy training prior to study in music therapy. They do need to
be competent on their major instrument, and to have been playing for a number of
years.
3
8 semesters
4
See below.
5
I'm not sure. I'm sorry I don't have time to calculate this.
6
No. I try to cover a wide range of populations and approaches.
7
I try to make students aware of all of these schools and the music therapy
approaches which are guided by them.
8
With the right therapist and approach, it can be.
9
Bachelor of Arts
10
I use all types of music, classical, popular, jazz, folk, world.
11
I am a singer who performs contemporary classical music. I use this as
well in the MT program.
12
Yes
CURRICULUM OF UNIVERSITY OF NORTH DAKOTA
MUSIC THERAPY COURSE DESCRIPTIONS: 23 CREDIT HOURS
MUSC 180 Introduction to Music Therapy (3) — An overview of the field of music
therapy, an introduction to the history and principles, to different therapy models and
techniques, and to the many populations served by the discipline. This course is open
to all students and professionals interested in learning more about the field.
MUSC 280 Music Therapy Theories and Methods I (Children) (3) — In-depth
demonstration, analysis and comparison of various music therapy models including:
Creative Music Therapy, Clinical Orff Music Therapy and Developmental Music
Therapy, with a study of the theories and methods associated with these models, with
special emphasis on the treatment of children. Prerequisite: MUSC 180.
MUSC 281 Music Therapy Techniques I (2) — Students will work on developing
musical skills and techniques for the design and implementation of music therapy
activities in a variety of clinical settings. Prerequisite: MUSC 180.
MUSC 282 Music Therapy Practicum I (1) — Supervised field experience in music
therapy within the public school. The student will co-lead a music therapy group for
special needs children. In addition to field placement, the student must attend a weekly
on-campus seminar. Corequisite: MUSC 281.
MUSC 380 Music Therapy Theories and Methods II (Adults) (3) — In-depth
demonstration, analysis and comparison of specific music therapy models, a study of
the theories, methods and techniques associated with these models, with special
emphasis on the treatment of adults. Prerequisites: MUSC 280.
MUSC 381 Music Therapy Techniques II (2) — Students will work on developing
musical skills and techniques for the design and implementation of music therapy
activities in a variety of clinical settings. Prerequisite: MUSC 281.
MUSC 382 Practicum II (1) — Supervised field experience in music therapy with
developmentally delayed adults. The student will co-lead a music therapy group. In
addition to field placement, the student must attend a weekly on-campus seminar.
Corequisite: MUSC 381.
MUSC 383 Practicum III (1) — Supervised field experience in music therapy with the
institutionalized elderly. The student will co-lead a music therapy group. In addition to
field placement, the student must attend a weekly on-campus seminar. Prerequisite:
MUSC 382.
MUSC 480 Psychological Foundations of Music Learning (3) — An in-depth study of
the psychological foundations of musical behavior including human response to music,
music preference and ability; psychoacoustical parameters and research in the field.
MUSC 481 Practicum IV (1) — Supervised field experience in music therapy with a
special needs population (TBA). The student will lead a music therapy group. In
addition to field placement, the student must attend a weekly on-campus seminar.
Prerequisite: MUSC 383.
MUSC 482 Music Therapy Internship (3) — Six month clinical experience in an
American Music Therapy Association approved facility at the completion of all music
therapy course work. Student must complete 1040 clock hours. The internship is a
degree requirement, offering the student supervised field experience under the
guidance of a professional music therapist.
Music Therapy Courses — 23 credit hours
MUSC 180 Introduction to Music Therapy (3 credits)
MUSC 280 Music Therapy Theories and Methods I (3 credits)
MUSC 281 Music Therapy Techniques I (2 credits)
MUSC 282 Music Therapy Practicum I (1 credit)
MUSC 380 Music Therapy Theories and Methods II (3 credits)
MUSC 381 Music Therapy Techniques II (2 credits)
MUSC 382 Music Therapy Practicum II (1 credit)
MUSC 383 Music Therapy Practicum III (1 credit)
MUSC 480 Psychology of Music (3 credits)
MUSC 481 Music Therapy Practicum IV (1 credit)
MUSC 482 Music Therapy Internship (3 credits)
Related Courses — 20 credit hours
Psych 111 Introduction to Psychology
PSYCH 250 Developmental Psychology
PSYCH 270 Abnormal Psychology
ANAT 204 Anatomy for Paramedical Personnel
ANAT 204L Anatomy for Paramedical Personnel
Teaching + Learning 315 Education of Exceptional Children
SOC 326 Sociological Statistics
Music Courses — 54 credit hours
MUSC 130, 134, 230, 234 Diatonic Harmony, Chromatic Harmony I,
Chromatic Harmony II, Music Theory Since 1900
MUSC 131, 135, 231, 235 Aural Skills I, AS I, Advanced Aural Skills
I, AAS II
MUSC 310, 311, 312 Music History Survey I, Music History Survey II, MHS
III
MUSC 154, 254, 354 Individual Lessons (6 semesters, 1 credit per
semester)
MUSC 260-279 Major Ensemble (4 semesters, 1 credit per semester)
MUSC 150, 151 Guitar (2 semesters, 1 credit per semester)
MUSC 150, 151 Voice (2 semesters, 1 credit per semester)
MUSC 140 Percussion Class (2 semesters, 1 credit per semester)
MUSC 133, 136, 233, 236 Keyboard Skills I, II, III, IV (4 semesters, 1
credit per semester)
MUSC 340 Introduction to Music Technology
MUSC 256 Basic Conducting
MUSC 423 Instrumental or Choral Arranging
MUSC 446 Instrumental Methods
UND GER Requirements
Communication - 9 credits
Social Sciences - 15 credits (9)
Arts and Humanities - 9 credits
Mathematics, Science and Technology - 12 credits
Institute
53) Baldwin Wallace College,
Ohio
USA
Contact
Lalene Kay
Person
E-mail
LKay@bw.edu
1
No
2
Yes, there is an option for an "equivalency program where the student comes in
with an earned bachelors degree in music and completes the coursework to allow
them to sit for the National Board Certification Exam in Music Therapy. This is
an option in addition to our regular 4-year bachelors degree in Music Therapy
2.a.
See above explanation
3
8 semesters plus a 6 month full time intership in an approved clinical site under
the supervision of a Board Certified Music Therapist
4
Most likely it can be accessed thru the Baldwin-Wallace College website
5
50..../..50..%
There are five courses which are strictly "lecture" (Psych of Music I and II, MT
in Psychiatry and Rehabilitation, Program Development
and Administration of MT, MT with the Devlopmentally Delayed and Mentally
Retarded) and 5 courses which are primarily clinically based or have at least a
portion which is fieldwork based (three Practical courses, Intro to Music Therapy
and Recreational Music Programming and Leadership)
6
No, we really approach treatment from a very general perspective
7
8
Yes, but not exclusively, this may be more applicable with more experienced
therapists and in more exclusive treatment settings.
9
Bachelor of Music in Music Therapy
10
Yes, we use "light" music, for eg we use MANY types of music
11
No, but I am not sure that I understand the question
12
Yes we have had 2 MT majors who have first completed a program at our
American Language Academy before joining our program (both students were
from Japan)
Institute
54) University of Dayton
Dayton,
Ohio,
USA
Contact
Susan Gardstrom
Person
E-mail
Susan.Gardstrom@notes.udayton.edu
1
No
2
No
2.a.
3
8 semesters
4
www.udayton.edu\music
5
40/60%
6
Yes, we focus mainly on MEDICAL, SCHOOL, and PSYCH
7
Students gain exposure to all.
8
Yes. But usually not appropriate for Bachelor's level
9
Bachelor of Music degree -- Bachelor of Music Therapy after internship is
completed.
10
All genres
11
No
12
No
Institute
55) Marylhurst University
Oregon,
USA
Contact
Christine Korb
Person
E-mail
ckorb@marylhurst.edu
1
No
2
No
2.a.
NA.
3
We are on the quarter term, and our program can be completed in 4-5 years or
twelve -fifteen quarter terms. A quarter is 11 weeks in length.
4
The website for our University is www.marylhurst.edu at which point you can
pull up the University catalog. Refer to pages 85-88 to view the Music Therapy's
program curriculum.
5
50%-50%
6
No, our students receive exposure to a broad spectrum of populations that
eventually they will chose to work with one or another as they begin their
professional careers.
7
Cognitive, Humanistic, Trans-personal
8
Yes, definitely it can be depending upon the client's needs.
9
Bachelor of Music Therapy degree: BMT
10
We use all styles of music during their educational experience.
11
No
12
No. however, we do have international students in our program.
Institute
56) Duquesne University, Pittsburgh,
Pennsylvania,
USA
Contact
Sr. Donna Marie Beck
Person
E-mail
beckd@duq.edu
1
No
2
Yes
2.a.
If the students have a degree in a related field, all transcripts are evaluated and
Music courses must then be completed. We require 65 credits in Music and 28 in
Music Therapy.
We require transcripts for evaluation and recommendations are made according
to strengths and needs.
Audition is required. This includes a theory examination that includes sight
reading. Placement is amde accordingly.
3
It depends on their degree. If they have a Music degree. e.g. in Music Ed
or Performance., It requires a minimum of 2 years.... or 4 semesters plus the
internship of 1040 hours.
4
See below.
5
Practical Applications are integrated into every Music Therapy Clss. Intor to
Special Ed is also integrated with a Practicum assignment.
The Liberal Arts are predominantly theoretical with few exceptions.
Musicianship classes incorporate improvisation and active music making
withon their classes.
39 credits then are theoretical. the rest of them have applications and
Practica experience connected with them.
..24% include hands on/Practical applications to the MT professional field.
6
Because Duquesne university is an Undergraduate Degree Program, students
are exposed to a variety of clinical experiences.
Music in Rehabilitation-Children's Rehabilitation-
School for the Deaf and School for the Blind
Mentally ill- Western Psychiatric Institute - University of Pittsburgh Setting
Hospitalized and day care units Mercy Hospital, Forbes Metropolitan Health System
Jefferson Hospital - transitional care Units
Peterson Hospital in west VA.- Rehabilitation
School settings- Legislation mandates inclusion- autism, downs syndrom varied populations
Residential facilities for seniors- part time hospitalization for seniors
with varied illnesses.
Great variety of opportunities- Hospitals, schools, specialized units for
children and seniors.
7
8
9
10
11
12
CURRICULUM OF DUQUESNE UNIVERSITY
Bachelor of Science In Music Therapy Music Therapy Curriculum-2001
Music Therapy
Muthr 107
MTO
3
Muthr 109
M T in Context
3
Muthr
Mus in Wellness and Health
3
MuThr 376
M&M Sp.Pers.
3
Muthr 124
Prac.
12
Muthr 309
Capstone Seminar
2
Total: 26 Hours
MUSIC
Musc
Musicianship I-VII
28
Mued101-102
Piano Class for MEd/Therapy
4
Musco2 121,122
Dalcroze Eurhythmics I-II
4
MuEns143
Ensembles
8
MuAp
Applied Major Inst.
8
Musc 379
Conducting I
2
MUED
Classroom Instruments
MuTk 115 Computer for Musicians
Muthr317-18
Muthr 307
1
2
Guitar Class
4
Psych Mus Tchng& Learning
3
Total: 64 Hours
.
Core Curriculum
CORE 101
Thinking/Wriiting 3
CORE 102
Imaginative Lit & Creative
CORE 121
Problem Sol Creative
Math or Statistics
3
3
CORE 132
Basic Philosophical Questions
CORE141
Socio-Political
Economic Systems (see below)
-
CORE
Theology
CORE 151
Shaping of the Modern World
SCI 207
Anatomy& Physiology)(see below
Electives
3
Total: 21 Hours
3
-
Behavioral Sciences
PSY 103
Intro to Psychology
3
Psychology Electives
6
PSY 352
Abnormal Psychlogy
3
ED 326
Introduction to
Special Education
3
SCI 207
Anatomy & Physiology
3
SOC 141
Sociology-Soio-Political
Econ. Systerms
Total: 21 Hours
Toal Number of Credits: 132
3
Institute
57) Elizabethtown College
Pennsylvania,
USA
Contact
James L. Haines
Person
E-mail
hainesjl@etown.edu
1
No
2
No
2.a.
3
8 semesters Plus 6 - 9 months of post coursework clinical internship
4
Our College catalog is available online at www.etown.edu
5
Credits in Music Therapy courses for classroom (theoretical) vs clinical
(practical) are 16 to 5. Please note that there is much practical application in the
classroom.
75/25 %.
6
No
7
Behavioristic and Cognitive
8
9
Bachelor of Music degree
10
We use both
11
No
12
No, not in Music Therapy
Institute
58) Immaculata College,
Pennsylvania,
USA
Contact
Jean Anthony Gileno
Person
E-mail
jgileno@immaculata.edu
1
Yes
2
Yes
2.a.
A music degree or a related degree such as Liberal Arts, Musicology, Music
Theory, Psychology, etc.
3
The graduate degree can go full time/+2 years, or part time/upt to 6 years.
Many or our students in the graduate program are working professionals as they
get their degree. Some are full time students in the Masters program in Music
Therapy.
We also have a full undergraduate degree in Music Therapy, besides.
4
5
33%psychology
33%music
33% music therapy
6
No/we focus on the general degree of music therapy and specialize at the thesis
and intern levels.
7
We have all of these taught in our Psychology degree programs, however, in the
Music Therapy, it is humanistic/transpersonal/pastoral
8
Somewhat, but not entirely.
9
Master of Arts in Music Therapy
10
All styles and periods of music are studied as well as advanced improvisation
11
No
12
No special program for international students, however, we have many
international students studying our program. Most from Japan and Tawian.
We have a special summer week long institute/INTERNATIONAL INSTITUTE
FOR EXPRESSIVE ARTS. International students take a week long intensive in
Music Therapy and return with a certificate.
Institute
59) Marywood University,
Mansfield,
Pennsylvania
USA
Contact
Sister Marian Pfeifer
Person
E-mail
pfeifer@es.marywood.edu
1
No. We plan to put in a MMT in the near future, however.
2
NO, not for the BM in Music Therapy, since it
is an undergraduate degree program with in the Music Department.
2.a.
NA.
3
8... semesters plus about 6 credits in Summer Sessions plus the 6 month
internship at an approved Clinical Training Program.
4
See below.
5
140 total with 20 specifically in MT; about 20 in the Behavioral Sciences plus the
music cognate
6
The UG program is preparing them as a Generalist, so they must have at least
3 Clinical Populations as part of their practicum. DD, Elderly and Psych
patients with some experience with the Deaf/blind; Inclusion settings in the
School/Classroom programs. We're working with Pre-schoolers with Cochlear
implants currently which proves exciting and interesting.
7
As I said we present all in an overview, and Psych Courses investigate all of these
approaches. I determine the school with the client's needs.
However, I lean toward Humanistic philosophy, but Behavioral approach when
needed. Eclectic, I guess.
8
It can be, but not necessarily or exclusively.
9
Bachelor of Music in Music Therapy
10
This too depends on the need of the client. Multi-cultural...etc.
11
Yes, namely Developmental and structured play for pre- schoolers.
12
Yes, we have a small group of majors in music therapy 30-42 is the range and we
always have at least 2 international students in the program.
Several others study other fields on campus.
CURRICULUM OF MARYWOOD UNIVERSITY
MARYWOOD UNIVERSITY
MUSIC THERAPY CURRICULUM
2000 - 2001
TOTAL CREDITS 140
20 CREDITS IN MUSIC THERAPY
Musc. 170 A; B
Intro to Music Therapy
(4)
Musc. 179
Clinical Experience (Minimum of 20 hours)
(0)
Musc. 279 A; B
Clinical Experience
(0)
(minimum of 20 hours per semester)
Musc. 371 A; B
Practicum/Seminar
(1)
(minimum of 20 hours per semester)
Musc. 372; 373
Psychological Foundations of Music
(4)
Musc. 376
Recreational Music
(2)
Musc. 377
Piano Improvisation
(2)
Musc. 471 A; B
Practicum/Seminar
(1)
(minimum of 20 hours per semester)
Musc. 474
Music in Therapy
(3)
Musc. 475
Influence on Music on Behavior
(3)
Musc. 480
Music Therapy Internship
(0)
58-60 CREDITS IN MUSIC:
(DEPENDING UPON MAJOR INSTRUMENT)
Musc. 111; 112
Theory I
(8)
Musc. 115 A; B
Conducting I
(2)
Musc. 118
Percussion Methods
(2)
Musc. 120 A; B
Vocal Technique
(2)
Musc. 127 A; B
Class Piano Minor (non-keyboard majors)
(4)*
Musc. 211; 212
Theory II
(8)
Musc. 215 C
String Class
(2)
Musc. 315 A
Brass Methods
(1)
Musc. 315 B
Woodwind Methods
(1)
Musc. 315 C
Instrumental Lab
(0)
Musc. 321 A; B
History of Music
(6)
Musc. 412 A
Orchestration
Musc. varies
Voice, Piano, and Guitar Majors
(2)
Vocal Ensemble
(4)
Instrumental Majors
Vocal Ensemble
(2)
Wind Ensemble
(4)
Musc. varies
Applied Major
(14)
[Musc. varies
Applied Minor (or Class Piano Minor)
(4)
Musc. 162 A; B
Applied Guitar
(2)
Music therapy students must pass a piano and guitar proficiency examination.
*Class Piano Minor for non-keyboard majors can be considered an applied minor in piano.
20 CREDITS IN BEHAVIORAL/HEALTH/NATURAL SCIENCES
*Psy. 211
General Psychology
(3)
Psy. 251
Developmental Psychology
(3)
Psy. 431
Abnormal Psychology
(3)
Psy. 432
Abnormal Behaviors in Child and Adolescents
(3)
*Soc. 211
Introduction to Sociology
(3)
*Biol. 130
Anatomy and Physiology
(3)
S Ed. 152
Orientation to Exceptionalities
(2)
*These classes fulfill the liberal arts requirement
42 GENERAL EDUCATION REQUIREMENTS
I.
The Human Condition in its Ultimate Relationships
R St. 112
Modern Belief and Unbelief
(3)
R St. varies
Elect one 200 number one other
(6)
Phil. 113
Introduction to Philosophy
(3)
Phil. varies
Elective
(3)
Phil. 404
Biomedical Ethics (Recommended)
(3)
II. The Human Condition in the Context of the Physical Universe
Math 216 or 220 Statistics for the Beh. and Soc. Sciences
(*Biol. 130
Anatomy and Physiology
(3)
(see above)
III. The Human Condition in Relation to Self and the Social Structure
Hist. 105
Ethnicity and Diversity in the Mod. World
(3)
(*Psy. 211
General Psychology
(see above)
(*Soc. 211
Introduction to Sociology
(see above)
IV. The Human Condition in its Cultural Context
Comm. 101
Dynamics of Speech
(2)
Eng. 160
Writing Skills
(3)
Eng. 300 or 301
Classics of World Lit. or World Lit. and the Modern Age (3)
Lang. varies
Foreign Language
(6)
[Voice majors satisfy 3 credits of language with - Italian, French, and German Voc. Lit.]
S Ed. 355 M, A.
Fine Arts for Students with Disabilities
(2)
(Satisfies Fine Arts Interdisciplinary Course)
P Ed. 125
Rhythms
(2)
* Parentheses represent courses that satisfy both Music Therapy and Liberal Arts requirement.
Students must plan to attend Summer Sessions.
At the beginning of the semester nearest to the completion date of 6 months internship, the student must
register for Musc.480, Music Therapy Internship for 0 credit. Candidates for Board Certification must have
successfully completed the academic and clinical training requirements for music therapy, or the
equivalent, as established by the American Music Therapy Association (AMTA). All requirements must be
completed by the examination administration date. (See current Candidate Handbook for Board
Certification in Music Therapy). The Certification Board for Music Therapists (CBMT) awards the Board
Certification credential, MT-BC to music therapists, recognizing professional competence at the entry
level. Professional membership is available with the American Music Therapy Association (AMTA.)
Institute
60) Slippery Rock University,
Slippery Rock,
Pennsylvania,
USA
Contact
Susan Hadley
Person
E-mail
Georgeandsusany@aol.com
1
Yes
2
No
2.a.
3
8 semesters
4
The music therapy subjects are:
Orientation to music therapy
Fundamental skills in music therapy (mainly recreative techniques)
Therapeutic musical strategies (Mainly receptive techniques)
Behavioural techniques in music therapy
Music therapy for children
Instrumental improvisation in music therapy
Psychology of music
Music therapy practicum
Music therapy for adults
6 semesters of clinical experience
1040 hours of internship
All students also must take 4 semesters of piano class, 2 semesters of
guitar class and 2 semesters of voice class
All students also take many other music classes and liberal studies classes
including psychology classes, anatomy and physiology, and introduction to
special education.
In total the students take 138 hours of classes
5
70/30%
6
No
7
8
Yes – definitely
9
Bachelor's degree
10
Yes, we use "light" music, for eg - any and all types of music that seem relevant
to a particular situation.
11
No
12
Yes - some foreign students have come to study with us.
Institute
61) Temple University, Philadelphia,
USA
Contact
Kenneth Bruscia
Person
E-mail
kbruscia@temple.edu
1
We offer the bachelor's, master's, and PhD degrees in music therapy.
Certification is awarded upon completion of the bachelor's degree.
2
See above.
2.a.
A degree in music
3
9 semester for BM, 4 semester for MMT, and 8-12 semesters for PhD
4
Please see: www.temple.edu/music, then click programs, then music therapy
5
Not applicable. Very difficult to answer in our system.
6
See website
7
We try to present all of them, depending on the degree level
8
Yes and NO
9
See above
10
All kinds of music
11
Don't understand this question
12
Yes, but they are not different from US programs
Institute
62) Charleston Southern University,
Charleston,
South Carolina,
USA
Contact
April Malone
Person
E-mail
amalone@csuniv.edu
1
No
2
No
2.a.
3
9-10 semesters including internship
4
See below.
5
33/66 %
6
Yes, we focus mainly on.special education populations and psychiatric both of
which are main fields of work. Geriatrics is another main field of work of music
therapists in our region.
7
Behavioristic
8
Yes
9
B.A. degree
10
We use all kinds... whatever is appropriate for each specific patient. We also take
into account patient preferences.
11
No * (If I understand your question correctly)
12
Yes * (International students are welcome to attend this program, however, we
currently do not have any enrolled in the music therapy program.
CURRICULUM OF CHARLESTON SOUTHERN UNIVERSITY
Recommended Course Sequence for Music Therapy Majors
Freshman Year, Fall Term
Freshman
Year,
Spring Term
131
Music Theory I
2
134
Music Theory II
2
132
SS & ET I
1
135
SS & ET II
1
133
Keyboard Harmony I
1
136
Keyboard Harmony II
1
101
Intro. to Music Therapy I
2
102
Intro. to Music Therapy II
2
111
English Comp/Rhet. I
3
112
English Comp/Rhet. II
3
111
Elementary Algebra
3
200
General Psychology
3
361
MT Clinical Experience
1
362
MT Clinical Experience
1
361
Music Therapy Lab
0
362
Music Therapy Lab
0
Ensemble
1
Ensemble
1
Ensemble*
(1)
Ensemble*
(1)
Piano Class or Lessons
1
Piano Class or Lessons
1
Lessons
1
Lessons
1
Class Guitar
1
151
Total: 16
Total: 17
(17)
Sophomore Year, Fall Term
(18)
Sophomore Year, Spring Term
231
Advanced Theory I
2
234
Adv. Theory II
2
232
Adv. SS & ET I
1
235
Adv. SS & ET II
1
233
Adv. Keyboard Harmony I
1
236
Adv. Keyboard Harmony II 1
241
Diction I
3
370
Music For Group Act.
369
Music In Therapy
3
221
Child Psychology
3
363
MT Clinical Experience
1
364
MT Clinical Experience
1
3
363
152
240
MT Lab
0
Ensemble
364
MT Lab
0
1
Ensemble
1
Ensemble*
(1)
Ensemble*
(1)
Class Guitar II
1
Piano Lessons
2
Piano Lessons
2
Lessons
1
Lessons
1
Piano Proficiency
0
Guitar Proficiency
0
Vocal Techniques
1
Percussion Techniques
1
243
Total: 17
Total: 16
(18)
Junior Year, Fall Term
(17)
Junior Year, Spring Term
345 Arranging
3
372 Music History II
301
Elementary Conducting
2
463
Influence of Music on Beh. 3
371
Music History I
3
366
MT Clinical Experience
1
462
Psychology of Music
3
366
MT Lab
0
365
MT Clinical Experience
1
324
Behavior Dis. of Childhood 3
365
MT Lab
0
325
Intro. to Psychopathology
3
Ensemble
1
Ensemble
1
Ensemble*
(1)
Ensemble*
(1)
Lessons
2
Total: 18
(19)
3
Lessons
2
201-2 English or American Lit.
3
Total: 16
(17)
Senior Year, Fall Term
Senior Year, Spring Term
464
Senior Music Therapy Sem. 1
368
MT Clinical Experience
1
367
MT Clinical Experience
1
368
MT Lab
0
367
MT Lab
0
Core Class
3
301
Behavioral Statistics
3
Core Class
3
Ensemble*
(1)
Core Class
3
Ensemble*
(1)
Ensemble*
(1)
Lessons*
(2)
Ensemble*
(1)
Core Class
3
Lessons*
(2)
Core Class
3
Natural Science + Lab
Elective
(3)
(Opt) Anatomy & Physiology
(opt)
Elective
4
(3)
(4)
Total: (18)
Total: (17)
(18)
(18)
Summer &/or Maymester Courses:
Following On-Campus Coursework:
**Anatomy and Physiology + Lab
4
496 MT Internship (off-
campus) 1
**Behavioral Science Elective
3
**Behavioral Science Elective
3
NOTE:
This schedule assumes that the student has a music scholarship that requires
lessons and ensemble performance every semester. Lessons and ensemble credits that exceed
the number required for the degree are marked with an asterisk.
(Opt) If a student doesn‘t have a scholarship, then they can take their electives and Anatomy
and Physiology during their senior year without requiring summer school. **
Institute
63) University of the Incarnate World,
San Antonio,
Texas,
USA
Contact
Janice Dvorkin
Person
E-mail
dvorkin@universe.uiwtx.edu
1
No
2
No
2.a.
3
10 semesters
4
You can obtain a copy of our degree plan at
http://www.uiwtx.edu/~music/index.html
5
25/75%
6
Yes, we focus mainly on learning skills that allow a student to begin a job in an
institutional setting with supervision, e.g. hospitals (medical & psychiatric),
schools, rehabilitation centers, nursing homes, etc.
7
Psychoanalytic, Cognitive, Humanistic. A survey course is offered to demonstrate
the various psychological theories in music therapy settings.
8
Yes. But this is not taught to students on this level.
9
A Bachelor of Music degree in Music Therapy.
10
Yes, we use "light" music, e.g. folk songs, top ten popular music, any genre is
appropriate, as long as it is clinically justified.
11
Yes, namely Hispanic music
12
Yes, Our school encourages foreign students, especially where we have school
affiliations; China, Korea, Turkey, Brazil and Japan.
Institute
64) Radford University,
Radford,
Virginia,
USA
Contact
James Borling
Person
E-mail
jborling@radford.edu
1
Yes, also Bachelor Degree
2
Only at the graduate level
2.a.
The students must have a Bachelors Degree to begin study at the graduate level
but it need not be in Music Therapy necessarily.
3
Bachelors is generally 8 semesters plus a 6 months internship
4
Please see website http://www.runet.edu/~musc-web/gradtherapy.html
5
Theoretical is 60 % and practical is 40 %.
6
No
7
We are eclectic and teach all models but focus more on Humanistic/Cognitive
and Transpersonal.
8
Sometimes. Depends on the model.
9
Bachelor of Music degree
10
We use all music that is effective. It can be in one of many categories.
11
No
12
We have foreign students here but it is not considered an international program.
Institute
65) Alverno College,
Milwaukee,
Wisconsin,
USA
Contact
Diane Knight
Person
E-mail
Diane.Knight@alverno.edu
1
No
2
No. But, Alverno does offer the music therapy Equivalency program for
students who do have a degree. This requires them to take just those courses
required for the MT major, and they are given credit for all other course work
already done.
2.a.
3
8 semesters at the college, then a 6 month clinical internship before the degree is
confired.
4
I teach all of the music therapy courses accept Creative Music Making.
You can find the entire curriculum on our web site at www.alverno.edu.
5
Within the MT curriculum alone, it is 90% practical, 10%theory. I make a
large effort to make everything I teach seem relavent to the practice of
music therapy so that students make the connection early on as to WHY they do
WHAT they do.
6
I emhasize an eclectic mix so that students are aware of all the possible options.
7
Our education is based on students understanding a variety of psychological
frameworks or models, and then applying music therapy technique to meet client
needs within that framework. In Wisconsin, USA, most therapists seem to be
behavioral and humanistic in approach.
8
I do not, but I know many therapists do.
9
Bachelor of Music in music therapy
10
We make a concerted effort to use both. Training on the major instrument is more
classically focused, tho not Exclusively so. Classes in guitar, rec instruments, etc.
build improvisational skills with a pop music focus. Whatever the focus, I stress
to faculty and students alike that they must be EXCELLENT musicians to be
GOOD music therapists!
11
No
12
Yes
Institute
66) University of Wisconsin Eau Claire,
Eau Claire,
Wisconsin,
USA
Contact
Dale B. Taylor
Person
E-mail
taylordb@uwec.edu
1
No
2
No
2.a.
3
9 semesters
4
See our website at: http://www.uwec.edu/ah/mt/
5
See the curriculum at our website
6
No
7
We have exposure and orientation to all that are used in our field.
8
No. I teach music therapy from a BIOMEDICAL point of view, as I am the
originator of the Biomedical Theory of Music Therapy and author of "Biomedical
Foundations of Music as Therapy" published by MMB Music, Inc.
9
Bachelor of Music Therapy degree
10
We use the music from the patient's background to engage the patient
therapeutically
11
12
Foreign students are welcomed and encouraged to study here.
Institute
67) University of Wisconsin, Oshkosh,
Wisconsin
USA
Contact
David Luce
Person
E-mail
luce@vaxa.cis.uwosh.edu
1
No
2
No
2.a.
3
It is hoped that students will complete their courses within four semester, but it is
usually five or six semesters, not including internship.
4
Please see attached. The university web site is http://www.uwosh.edu/
5
16/8 or 50%
6
The current curriculum provides practica for each student in at least three
different areas including children with special needs in educational settings,
adults with special needs in vocational programs or residential settings, chronic
and forensic adult psychiatry, chemical dependency, older adults in skilled
nursing environments for rehabilitation as well as enhanced quality of life,
and adults with dementia's or cognitive deficits.
7
The current psychological school is behavioristic. However, the curriculum
changes that I will be proposing will be a more eclectic blend of the types you
listed, i.e., Behavioral, Psychoanalaytic, Cognitive, Humanistic, and Transpersonal.
8
It can be, but isn't always. I consider music therapy as a modality that can address
physical, emotional, and spiritual needs.
9
Bachelor of Music degree in Music Therapy
10
We use many types of music: Improvisational, Classical, Popular Contemporary
music including rock, country, religious,etc., and World music.
11
Certainly, American folk music plays an important part of our work in music
therapy. As children, most American students are introduced to various nursery
rhymes, patriotic songs, and songs in our folk tradition. In the course of therapy
with older adults or people with neurological impairments, using these familiar
songs can serve as the basis for rehabilitation, reminiscence, life review, etc.
However, we are also becoming increasingly aware of the cultural diversity
within our country and recognizing that we also need to attend to such music
from other cultures. While we are aware of that fact, the actual practice of using
music from other cultures in our training is not yet fully implemented.
12
We have a small study abroad program with opportunities for students to study in
England and we have a few international students enrolled in our courses.
Data processing:
The respective replies to the question ―Which psychological school is dominant in your
education?‖ and the summary of replies can be seen in Table 4 and Figure 5 respectively.
The rate of institutes designating „all/eclectic‖ psychological schools to be dominant in their
education can be seen in Figure 6.
Psychoanalytic
Behaviouristic
Cognitive
Humanistic
Number of
the
institute
(with
reference
to its
number as
it appears
on its
Table of
Reply)
1
6
7
8
9
11
12
13
14
17
18
23
24
39
41
47
63
25
28
31
33
36
40
43
45
46
50
51
57
59
62
63
65
67
8
10
24
28
29
36
51
55
57
64
1
2
3
6
8
10
11
12
13
14
16
22
23
24
27
28
32
33
34
36
39
40
41
42
44
49
55
58
59
63
64
65
Total
number
17
17
10
32
Transpersonal
3
10
11
16
24
30
33
47
55
58
64
11
Table 4: Respective replies to the question:
“Which psychological school is dominant in your education?”
All/Eclectic
4
15
21
22
26
31
32
37
38
43
44
46
47
48
51
52
54
58
59
61
64
66
67
23
Summary of replies designating at least one of the psychological schools unambiguously:
Psychological schools
Psychoanalytic Behavioristic
Cognitive
Humanistic
Transpersonal
Number of
17
17
10
32
11
19.54
19.54
11.50
36.78
12.64
replies
% of all replies
designating at
least one of the
psychological
schools
unambiguously
13%
Psychoanalytic
20%
Behaviouristic
Cognitive
20%
36%
11%
Humanistic
Transpersonal
Figure 5: Summary of replies to the question:
“Which psychological school is dominant in your education?”
Total number of institutes
Number of institutes
designating „all/eclectic‖
psychological schools to be
dominant in their education
%
67
23
100
34.33
Having
dominant
schools
34%
66%
Eclectic
Figure 6: Rate of institutes designting „all/eclectic” psychological schools to be dominant
in their education
Analyzing the number of institutes designating psychoanalysis or behaviorism as a
dominant psychological school in their education in the USA and outside the USA the
following results can be gained. (Table 5)
Number of institutes
Psychological schools
Psychoanalysis
Behaviorism
In the USA
4
17
Outside the USA
13
0
Table 5: The number of institutes designating psychoanalysis or behaviorism as a
dominant psychological school to be in their education in the USA and outside the USA
The respective replies to the question ―Do you consider music therapy as a form of
psychotherapy?‖ and the summary of replies can be seen in Table 6 and Figure 7 respectively.
Number of the institute
Reply
(with reference to its number as it appears
on its Table of Reply)
1)
Yes
2)
Yes
3)
Yes
4)
Yes
5)
Yes
6)
Yes
7)
Not specifically
8)
Yes, but not all the applications
9)
Yes
10)
Yes
11)
Yes
12)
Yes
13)
Yes
14)
Yes
15)
Yes
16)
Yes
17)
Yes
18)
Yes and no.
19)
Yes
20)
Yes
21)
Yes
22)
Yes
23)
Yes
24)
Yes
25)
Yes sometimes, no sometimes
26)
In certain applications
27)
No
28)
Yes
29)
Yes sometimes, no sometimes
30)
Yes
31)
Yes
32)
Yes, when used in a mental health
setting, No, when used in a school
setting and other settings for which
psychotherapy
would
not
be
appropriate.
33)
It depends on the population and how
the music is being used.
34)
Yes
35)
Yes
36)
Yes
37)
It depends upon how you define
"psychotherapy."
38)
Yes, sometimes
39)
Yes
40)
Yes
41)
Yes
42)
Yes
43)
Yes
44)
-
45)
No
46)
Yes,
if
psychotherapy
is
broadly
defined. If limited in definition then no.
47)
Yes
48)
Yes
49)
Yes
50)
If you consider behavior analysis to be
psychotherapy, yes.... otherwise, no.
51)
Yes
52)
Yes
53)
Yes, but not exclusively
54)
Yes
55)
Yes
56)
-
57)
-
58)
Somewhat, but not entirely.
59)
It can be, but not necessarily or
exclusively.
60)
Yes
61)
Yes and no.
62)
Yes
63)
Yes
64)
Sometimes. Depends on the model
65)
No
66)
No
67)
It can be, but isn't always
Table 6: Respective replies to the question:
“Do you consider music therapy as a form of psychotherapy?”
Summary of replies:
Type of reply
Number of replies
% of all participants
Unambiguous ―yes‖
42
62.68
Unambiguous ―no‖
4
5.97
Other
18
26.87
Didn‘t reply
3
4.48
45
40
35
30
25
20
15
10
5
0
42
Unambiguous
“yes”
Unambiguous
“no”
Other
18
4
Didn’t reply
3
Type of replies
Figure 7: Summary of replies to the question:
“Do you consider music therapy as a form of psychotherapy?”
Conclusions:
As it can be seen in from the results the most popular psychological school serving as
a basis of education of music therapy is humanistic. Nevertheless the number of institutes
claiming that all/eclectic‖ psychological schools to be dominant in their education is 34.33 %
of all of the respondents.
My first hypothesis, namely music therapy based on behaviorist approach is much
more general and popular in the United States than in any other countries in the world proved
to be completely true, since none of the respondents working outside the United States stated
that behaviorism is a dominant psychological school in their education of music therapy. Only
4 institutes claimed that they had considered psychoanalysis a basis of their music therapy
education, versus 13 institutes working outside the US who considered psychoanalysis
important psychological school in their work.
My second hypothesis, namely considering music therapy as psychotherapy is not
unambiguous proved to be true also. Only 62.68 % of all of the respondents claimed that
music therapy is psychotherapy, 26.87 % of the respondents couldn‘t give a unanimous yes or
no reply and 5.97 % of the respondents considered music therapy unambiguously not
psychotherapy.
Investigating the presence of MusicMedicine and Psychodynamic Movement in the
curriculi of the institutes giving information I found the following facts:
According to the data I got I can ascertain that MusicMedicine as a subjects appeared
only in the curriculum of Hochschule für Musik und Theater, Hamburg, Germany.
Psychodynamic Movement (or similar subject) is taught in the following institutes:
 Institut for Musik og Musikterapi, Aalborg, Denmark (Psychodynamic movement)
 Fritz Perls Institute, Europäische Akademie für Psychosoziale Gesundheit, Düsseldorf,
Germany (Movement therapy)
 Universität - Gesamthochschule Siegen, Musikalisch-therapeutische Zusatzausbildung
für Helfende Berufe, Siegen, Deutschland (Dance and movement, Body awareness)
 Hochschule für Musik und Theater, Hamburg, Germany (Psychodynamic movement)
 Bar-Ilan University, Ramat-Gan, Israel (Dance therapy)
 Naropa University, Boulder, Colorado, USA (Body awareness)
 Lesley University, Cambridge, Massachusetts, USA (Rhythm and healing)
 Duquesne University, Pittsburgh, Pennsylvania, USA (Eurhythmics)
 Alverno College, Milwaukee, Wisconsin, USA (Fundamentals of voice and
movement)
The results mean that the above institutes mentioned above teach the subjects of
MusicMedicine or Psychodynamic Movement respectively. According to the data I got from
them I couldn‘t find any definite sign regarding that other institutes teach psychodynamic
movement or music medicine, although it is possible that the education of such topics are
partly or fully integrated into other subjects.
The average subjects appearing in the curriculi of the institutes teaching music therapy are
mostly divided into musical and non-musical topics. Subjects belonging to the borderland of
music and medicine or music and psychology are very rare.
Discussion:
My dissertation is a diagnostic type one. Its main reason was to give information to all
of the people interested in music therapy about the nature and main characteristic features of
institutes having music therapy degree programs all over the world. It can be developed
further by putting other types of questions on using the database (e-mail addresses and name
of contact persons) I collected for such types of investigations. I hope that by using this
database through the Internet the communication between the different institutes all over the
world will be smoother and the exchange of information will not be as difficult as it seems to
be nowadays.
I still think consistent music therapy can not be exist as long as the philosophy of
music therapy can not be similar in different countries or until the communication between
music therapists working worldwide will not be more fluent.
It is possible that every single country has its own picture about music therapy creating
―music therapy islands‖ all over the world. Nevertheless such ―islands‖ should share more
information with each-other for creating a common continent. It could help also for the
representatives of ―exact‖ sciences to accept music therapy as their fellow science.
If the situation of music therapy will remain still so uncertain (mostly in such countries
like Hungary, where music therapy is still at the beginning of its carrier), then probably we
have to count with the following consequences:
1) Music therapists are continuously forced to prove the importance of results of their
work. Such an activity consumes a vast amount of energy and makes almost
impossible to undertake mistakes committed during the work. It leads to a kind of
―shop-window‖ aspect of music therapy where mistakes have to exist in hidden form.
Nevertheless such ―shop-windows‖ are very fragile and there need a lot of energy and
power to maintain them.
2) Music therapist start to form a closed community, they concentrate more themselves
than other sciences. Thus music therapy can loose its connections to other fields of
sciences. In this way communication with other representatives of sciences will be
harder and harder.
3) As a result of the above music therapy becomes more and more isolated instead of
being more and more popular.
4) According to the public opinion a science which is not acknowledged can not be very
important and ―professional‖, so music therapist can only work as workers of second
or third rate workers.
5) As a consequence of all of the above music therapists can consider their work a
Sisyphean task and they burn out soon.
All of the above harmful and dangerous outcomes can be avoided by creating a
common based philosophy for music therapy and making communication better between
music therapists. The use of internet can give a considerably help for such endeavors.
Thus instead of being an ―uncared forest‖, music therapy really could be the Garden of
Knowledge.
MUSIC THERAPY IN HUNGARY: PAST, PRESENT AND
FUTURE
In the following chapters I would like to analyze the recent past, present, the
immediate future and the possible perspectives of music therapy in Hungary.
“Ontogenesis” of music therapy in Hungary
Formation and development of music therapy in Hungary can be compared to the
process of ontogenesis. First of all a fertile thought needed (this is the sperm in terms of
ontogenesis or ―seed‖ according to the New Testament) and an ovum (it is the fertile mind,
the ―good ground‖ using analogy from the Bible where the seed fell). In our case the ―seeds‖
were mostly foreign experiences and partly Hungarian ideas (for example the original ideas of
Dr. Klára Kokas) and the pieces of fertile ―good ground‖ were the minds of Hungarian
experts where the ideas were conceived.
Music therapy was born in Hungary as a ―love child‖. The society and mostly the
competent authorities were not prepared for its birth (and in my opinion most of them are still
not prepared for it). But the ―child‖ didn‘t wait for his turn in the long queue of ―family
planning‖, thanks to those experts who recognized that the ―biological clock‖ of the country is
working and we should do something if Hungary doesn‘t want to lag behind other countries
regarding music therapy.
It is very important that a child should born into a complete family and not into a
broken one. It means that the father should undertake the responsibility for his descendant and
not to leave him alone after birth. Hungarian music therapy is in an advantageous situation
from this point of view. A lot of people were present at his birth and although the ―father‖ or
in this case ―fathers‖ were very busy they never let the ―mother‖ (the Hungarian experts of
music therapy) and their ―child‖ alone and they were at the right place at the right moment. In
fact it was a delivery where the father was continuously present in the ―operation room‖. The
most important ―father‖ is Prof. Dr. Hans-Helmut Decker-Voigt, who loved the Hungarian
music therapy always as his beloved child. He did his most for helping the ―child‖ to deliver,
namely to establish an acknowledged, accredited education of music therapy in Hungary.
From psychological point of view it can be interesting that one of the specializations of Prof.
Dr. Hans-Helmut Decker-Voigt is the music therapeutic research of fetuses and infants.
There are a lot of different words for pregnancy in Hungary. It is called ―burdensome‖
or ―other condition‖ but also ―blessed condition‖. Such concepts reflect truly the emotions
how a mother or her neighborhood can feel about the child before the birth of the child. The
child can be ―burden‖, something ―other‖ or ―strange‖ living creature but can be blessing as
well. The judgment of it is depending from the attitude and willingness to sacrifice of the
environment where the child will be born. The ―mothers‖ of the Hungarian music therapy
(namely the Hungarian establishers and representatives of music therapy) reported about a lot
of obstacles changing the blessed condition to ―burdensome‖. They lived through a lot of
periods when they were anxious about the ―childbirth‖ and were afraid of the ―labor pains‖. In
many times such periods were turning their stomach or made the ―vomiting‖. Probably the
thought of abortion also appeared sometimes, but they could overcome it from time to time.
The unpreparedness of the responsible Hungarian authorities, undertaking the
―fatherhood‖ only under pressure was just one of the obstacles of development of the ―fetus‖.
After the beautiful moment of ―getting pregnant‖ a new question aroused, namely: who‘s
child is it? It is used to say that the identity of the mother is always sure but the identity of the
father can be uncertain. This is a special case since several ―mothers‖ and ―fathers‖ played
role in the birth of the same ―child‖. It is natural that everyone of them loves the ―child‖ and
they are waiting for the ―delivery‖ with joy but they don‘t want to give up the rights of being
a parent. A biblical situation has formed where a real Solomonic judgment is needed for not to
tear the music therapy in two or three parts in Hungary. (Actually disagreement was always a
big problem during the history of Hungary.) Great care should be devoted for avoiding of
distraction of the ―child‖ because of disagreement.
It seems that nowadays we live the moment of birth of the accredited education of
music therapy in Hungary. The ―newborn child‖ looks healthy but his development depends
on others just like in a case of a human child.
So it can be stated that the development of the new branch of science in Hungary is
very similar to the real development of a living human being. Why shouldn‘t we
conceptualize and analyze the present and the near future of the music therapy in Hungary by
the development levels and concepts of Jean Piaget and Erik Erikson?
According to the developmental stages formulated by Piaget the first two years of the
child is called sensori-motor phase. During this period the following processes take place.:
1) Differentiates self from objects.
2) Recognizes self as agent of action and begins to act intentionally: e.g. pulls a string
to set mobile in motion or shakes a rattle to make a noise.
3) Achieves object permanence: realizes that things continue to exist even when no
longer present to the sense.
According to the above the following events can be anticipated for the next period of
development of Music Therapy in Hungary. (This period can be definitely more than two
years considering that the period of ―pregnancy‖ was also rather long):
1) Creating the borders and limits of music therapy. It doesn‘t mean isolation from the
other branches of science but stabilizing the identification of music therapy,
recognizing its value and its acknowledgement by other sciences. This period contains
also the formation of the Hungarian concept and institutional system of music therapy.
2) Presenting concrete results and their publication both in Hungary and in foreign
countries.
3) The Hungarian music therapy learns to ―stand on its own feet‖, to acquire larger extent
of independence and gets accustomed to the feeling that its foreign inspirators don‘t
give material (for example financial) only theoretical and ethical support for its
development in the future.
According to the name created by Piaget the next phase can be called pre-operational
stage of development. It has the following characteristic features.
1) The child learns to use language and to represent objects by images and words.
2) Thinking is still egocentric: has difficulty taking the viewpoint of others.
3) Classifies objects by a single feature: e.g. groups together all the red blocks
regardless of shape or all the square blocks regardless of color.
Following the above thoughts this period of development of music therapy in Hungary
means to perform the next tasks:
1) Developing the unified language and concept system of music therapy. Harmonizing
the terminal technology between organizations and experts of music therapy. Bring the
qualitative and quantitative language of research in harmony.
2) Giving the egocentric thinking up and searching for connections with other branches
of science.
3) Taking other qualities still not developed into consideration (for example application
of music therapy in a subject called ―associative thinking‖ which can be taught from
the elementary school to the higher level of education).
The next stages described by Piaget, namely the concrete and formal operational
phases should bring further at this moment unforeseeable changes in the history of
Hungarian music therapy.
Erik Erikson describes the physical, emotional and psychological stages of
development and relates specific issues, or developmental work or tasks, to each stage.
Reviewing some of the first phases surprising similarity can be observed also between the
present and future development of Hungarian music therapy and these developmental
stages.
1) Infant. Source of conflict: trust vs. mistrust. The child needs maximum comfort with
minimal uncertainty to trust himself/herself, others, and the environment.
This period has been characteristic of the development of music therapy in Hungary
recently. The main task was to overcome the mistrust among the centers (Debrecen,
Budapest, Pécs). The above mentioned ―parents‖ do a great work regarding this topic.
There was another problem of mistrust, namely on the level of the national institutes
responsible for making possible the start of the education of music therapy. They had
to be convinced about the necessity of such training in Hungary.
2) Toddler. Source of conflict: autonomy vs. shame and doubt. The toddler strives to
master his/her physical environment while maintaining self-esteem.
Probably we‘ll experience this period in the near future when music therapy as an
independent branch of science has to stand on its own feet and has to fight its war with
its scientific environment for accepting it and being accepted by them. During this
fight music therapy has to keep its own self-esteem on a certain level simultaneously
with continuous increase of the level of education.
3) Preschooler. Source of conflict: initiations vs. guilt. The child begins to initiate, not
imitate, activities; develops conscience and begins to be independent by separating
continuously from its environment. He/she has a great amount of initiative power,
performs independent actions, and would like to experience everything. If he/she is not
hindered by the environment than he/she has a great opportunity for being a creative
adult.
When music therapy finished its fight for being appreciated by its environment and for
acquiring sufficient amount of self-esteem the time for independent actions will come.
This is the time of finding a job for the first music therapists graduated in Hungary. If
the environment doesn‘t raise difficulties than creativity produced by music therapy
will appear in the Hungarian science, economy and art.
4) School-age child. Source of conflict: industry vs. inferiority. The child becomes more
and more independent. He/she tries to develop a sense of self-worth by refining skills.
Systemic learning appears instead of playing games. The child is a subject of
continuous qualification performed by its environment.
In this period the scientific environment counts on the work of music therapists. There
are great demands made for them and music therapists have to meet the strong
requirements. If it is successful than appreciation and self-esteem of music therapists
will grow.
Further comparison between the developmental stages of Erikson and the
possible development of music therapy in Hungary would lead us to make guesses in
perspectives which can‘t be foreseen at this moment.
The above analysis is just theoretical of course; nevertheless it may give
explanation for the events happened in the recent past and can prepare us for the tasks and
events to be expected in the near future.
Near future – Accredited training of music therapists in
Hungary
It seems that the first school-year of training accredited music therapists in Hungary
will start in September of 2003. Hereby I would like to publish the basic data and the
curriculum of the training.
Name of the applicant institute of higher education:
ELTE, Bárczi Gusztáv Gyógypedagógiai Főiskolai Kar
(Eötvös Lóránd University of Arts and Sciences, Faculty for Teachers of the
Handicapped)
Budapest, 1071, Bethlen G. tér 2.
Co-operating institute:
Hungarian Music Therapy Association
Budapest 1089, Vajda Péter u. 37.
Budapest, 1138, Népfürdő u. 21/A (mail address)
Name of the branch:
Music Therapist Specialized Professional Training
Level of education:
Professional Training
Intended form of education:
Evening course
Period of education:
5 semesters
Total number of lectures: 870 (contact lessons, theoretical or practical lessons),
150 credit points
Name of the degree students get at the end of the education:
Music therapist
Preliminary training/degrees needed for the application:
Kindergarten teacher, teacher, music teacher, musician, teacher of the
handicapped, social worker, psychologist, physician or other university or
college degree of healthcare
Additional conditions:
-
Official certification about at least 6 years of music learning
-
Certification about participation in a 150 hour long music therapy selfknowledge group (1st semester)
Intended number of students:
25-30 members/group
Intended time of start of the education:
1st semester of the school year of 2003-2004
Professors responsible for the branch:
Péter Zászkaliczky, Associate Professor, Acting Leader of the Faculty
Mrs. Urbán Katalin Varga, Associate Professor
Aim of the education:
Training music therapists having knowledge on the fields of psychiatry,
abnormal psychology, psychology, psychotherapy and music. In possession
of holistic attitude and specialized qualities they should make a special alloy
of their knowledge for being able to work as music therapists in institutes,
organizations and on areas where exploration, protection, compensation,
correction, re-education, rehabilitation or complex cure of psychic/somatic
or health/illness state of people takes place in different ages and states of
being. They should work independently or in cooperation with other
professions for bio-psycho-social public health of children, young and adult
people on the area of primary secondary and tertiary prevention and on the
field of abnormal psychology.
Main fields and proportions of the training:
1)
Participation in music therapy self-knowledge group (preparatory semester):
Participation on the music therapy self knowledge group is compulsory. It is an
integrated part of the following special training and serves also as an automatic
filter of suitability for being music therapist.
It comprises 17 % of the total time of the training.
2)
Propedeutic phase:
Psychology I, pedagogy, education of the handicapped, health psychology,
ethics, specialization (procession of an associate therapeutic method based
upon self experiences of the students).
It comprises 10 % of the total time of the training.
3)
Clinical phase:
Psychiatry,
patopsychology,
psychodiagnostics,
psychology
II-III,
psychotherapy I-II-III, situational exercises of psychotherapy and music
therapy, practical work, verbal group therapy.
It comprises 31 % of the total time of the training.
4)
Method specific phase:
Music therapy self experience group (see preparation semester), practice,
supervision, psychology of music, theory of music therapy, theory of music,
knowledge of compositions and styles, singing pedagogy, voice and movement
therapy, improvisation, dance and movement therapy.
It comprises 42 % of the total time of the training.
Checking system of knowledge:
Checking system of knowledge of students is based on practical scores, examinations,
colloquiums and course-unit examinations, participation on the practices, making a
dissertation, demonstrating practical work and a school-leaving examination.
Course-unit examinations have to be taken from:
 Complex practice of psychology (subjects: Psychology I-II-III, Health
psychology)
 Complex course-unit examination of psychiatry (subjects: Psychiatry,
Patopsychology, Psychodiagnostics)
 Complex course-unit examination of psychotherapy (Ethics, Psychotherapy III-III, Situational exercises in psychotherapy and music therapy)
Parts of the school-leaving examination:
 Complex oral exam comprising the fields of music therapy training
 Defending the thesis
 Demonstrating the practical work (according to video and audio recordings and
records of documents)
Subjects of the school-leaving examination:
 Voice and movement therapy
 Improvisation
 Music psychology
 Knowledge of musical compositions
 Theory of music
 Theory of music therapy
 Psychotherapy
CURRICULUM AND SUBJECT DESCRIPTIONS:
Curriculum:
1st semester
Music therapy self knowledge
group
Contact
Individual
lessons
work
150
—
Credits
Examination
5
Practical
mark (p.m.)
2nd semester
Contact
Individual
Credits
Examination
lessons
work
Psychology I. (lecture)
15
60
4
colloquium
Pedagogy (lecture)
10
30
3
colloquium
Pedagogy of the handicapped
10
40
3
colloquium
Health psychology (lecture)
10
40
3
colloquium
Voice and movement therapy
15
60
3
Improvisation (pr.)
15
60
3
p.m.
Dance and movement therapy
15
60
3
p.m.
Specialization+ (pr.)
15
60
3
p.m.
Theory of music (lecture)
15
60
3
p.m.
20
60
3
colloquium
Music psychology (lecture)
15
60
3
colloquium
Psychiatry (lecture)
15
60
3
colloquium
Verbal group therapy (pr.)
30
-
1
p.m.
200
650
38
(lecture)
(pr.
9[9]
p.m.
10[10]
)
(pr.)
Knowledge
of
musical
compositions and styles (lecture)
9[9]
pr. = practice
p.m. = practical mark
10[10]
3rd semester
Contact
Individual
Credits
Examination
lessons
work
Psychology II. (lecture)
15
60
4
colloquium
Ethics (lecture)
10
40
3
colloquium
Psychotherapy I. (lecture)
15
60
4
colloquium
Singing pedagogy (pr.)
15
60
3
p.m.
Voice and movement therapy (pr.)
15
60
3
p.m.
Improvisation (pr.)
15
60
3
p.m.
Dance and movement therapy (pr.)
15
60
3
p.m.
Specialization+ (pr.)
15
60
3
p.m.
Theory of music (lecture)
15
60
3
p.m.
Knowledge of musical
15
60
4
colloquium
Theory of music therapy (lecture)
15
60
4
colloquium
Patopsychology (lecture)
15
60
4
colloquium
Verbal group therapy (pr.)
30
-
1
p.m.
205
700
42
compositions and styles. (lecture)
4th semester
Contact
Individual
Credits
Examination
lessons
work
Psychology III. (lecture)
15
60
4
colloquium
Psychotherapy II. (lecture)
30
90
5
colloquium
Voice and movement therapy (pr.)
15
60
3
p.m.
Improvisation (pr.)
15
60
3
p.m.
Dance and movement therapy
15
60
3
p.m.
60
3
p.m.
30
60
3
p.m.
30
60
3
p.m.
Practical work in institutes (pr.)
-
30
1
p.m.
Practice (pr.)
-
30
1
(pr.)
Singing pedagogy (pr.)
Situational
15
exercises
in
psychotherapy and music therapy
(pr.)
Supervision (pr.)
(individual and group)
(individual
and
group
case
p.m.
leading)
165
570
29
5th semester
Contact
Individual
Credits
Examination
lessons
work
Psychodiagnostics (lecture)
15
60
4
colloquium
Psychotherapy III. (lecture)
30
90
5
colloquium
Voice and movement therapy (pr.)
15
60
3
p.m.
Improvisation (pr.)
15
60
3
p.m.
Dance and movement therapy (pr.)
15
60
3
p.m.
30
60
3
p.m.
30
60
3
p.m.
Practical work in institutes (pr.)
-
30
1
p.m.
Practice (pr.)
-
30
1
Situational
exercises
in
psychotherapy and music therapy
(pr.)
Supervision (pr.)
(individual and group)
(individual
and
group
case
p.m.
leading)
150
510
26
Total number of credit points:
1st semester
5
2nd semester
38
3rd semester
42
4th semester
29
5th semester
26
Dissertation
6
School-leaving examination
4
Total
150
Description of subjects:
Name of the subject: Psychology I-II-III
Content of the subject:
Definition and place of psychic phenomena in the system of life phenomena. Relation of
processes of cognition and its characteristics, imagination, learning, thinking, consciousness,
desire, addiction, motivation, will, stress, frustration, tolerance, connection between actions
and psychical phenomena. Development of cognition, psychical basis of visible and audible
world: music and language built of sound and rhythm, organization of inner representations
(schemes), roots of creating analogies, birth of inner pictures, age of symbolism, linguistic
base of pictures, symbols, metaphors, similes, allegories, primary depictive and secondary
linguistic symbols. Process of socialization, critical periods of psychic development, 8 stages
of development, personality development theories, concept of personality, structural approach
of personality: personality models, personality types, individuum and group (communication,
interaction), psychological characteristics of different ages of life.
Literature:
Atkinson: Pszichológia (Osiris-Századvég Kiadó, 1994.)
M. és Sh. Cola: Fejlődéslélektan (Osiris Kiadó, 1997.)
Kulcsár Zs.: Korai személyiségfejlődés és énfunkciók (Akadémia Kiadó, 1996.)
Carver-Scheier: Személyiségpszichológia (Osiris Kiadó, 1998.)
E. Erikson: Az életciklus: az identitás epigenezise (In. A fiatal Luther és más írások,
Gondolat, 1991.)
Bagdy E.: Családi szocializáció és személyiségzavarok (Tankönyvkiadó, 1977.)
Name of the subject: Psychiatry
Content of the subject:
Valid nosologic systems of present (BNO /International Classification of Diseases/ 10 and
DSM IV), psychiatric disturbances, professional terminology, so-called small and large
patographies of psychiatry.
Literature:
Dr. Magyar I.: Psychiatria (Semmelweis Kiadó, 1993.)
Döme L.: Személyiségzavarok (Cserépfalvi-Pszichoeducatio Kiadó, 1996.
Name of the subject: Patopsychology
Content of the subject:
Aim of studies: becoming acquainted with patodynamics of psychical life, analysis of
organization of different etiologic phenomena. Exploration of reasons and dynamic factors.
The subject of child pathology discusses the pathological risk and crisis factors of psychic
development and the possibilities of prevention and development-equalization. Topics of the
subject: neurosis, psychosomatic disease, acting out, psychopathic, sociopath, suicide,
schizoidia, sensitivity, paranoia, ciloidia, depressive and maniac dynamics, alchololism,
criminality and other forms of deviance.
Literature:
Szakács F. szerk.: Patopszichológiai vademecum I-III. (Tankönyvkiadó, 1989.)
Name of the subject: Psychotherapy I-II-III
Content of the subject:
It demonstrates psychical interventions (therapies). It stresses the psychotherapeutic trends
and their methods in detailed form (for example Freud, Jung, Rogers, humanistic and
transpersonal psychological schools). Basic features of psychotherapeutic system: theory,
method, aim, conditions of work, therapeutic basic position, psychological goal, frameworks,
rules, levels of connections, therapeutic atmosphere, working association, contracting,
planning of psychotherapy, minimum and maximum aims. Psychotherapy as a process in
time. Tools of contact management, the common factors of effectiveness of therapies, contact
control. Psychotherapy as a learning process. Types of psychological interventions:
individual, couple, family, group. Analysis of the main directions. Demonstration of group
dynamics phenomena. Neuropsychology of human movement, rhythm and kinetic expressive
manifestations and their developmental psychological aspects. Connection among dimensions
of movement, space and time: from harmony of movement to psychopathology of movement
disturbances. Use of movement, rhythm and kinesthetic expressivity in psychotherapies.
System and basic principles of non-verbal, expressive and dramatic therapies. Kinesic
psychotherapies, from psychogymnastics to pantomime therapies. Therapeutic use of human
voice and rhythm: basics of eurhythmics. Gesture therapies. Bibliotheraphy, dramatic
bibliotherapeutical group work, acting therapy. Complex group therapy aiming at connecting
movement and drawing. Dramatic methods of expression: sociodrama, psychodrama. ―Body
therapies‖: relaxation methods, sensory awareness, biogenetics and focusing (Gendlin).
Connection between complementary and associate therapies and work with music therapy.
Effectivity analysis. Discussion of common characteristics of psychological interventions.
Approach of some psychological phenomena (for example anxiety) from the points of view
different psychological theories. Their definitions and dynamics. Effectiveness levels of
psychotherapies. Process of psychotherapeutic activity under supervision. Connection
between the personality of the psychotherapist and the psychotherapeutic treatments. Aspects
of interpretation of psychotherapeutic processes.
Literature:
Csoportpszichoterápia (Szöveggyűjtemény, Művelődési és Közoktatási Minisztérium,
1994.)
Dr. Buda B. szerk.: Pszichoterápia (Gondolat Kiadó, 1981.)
Juhász S. szerk.: Nonverbális terápiák (Animula, 1991.)
Aronson: A társas lény (Közgazdasági és Jogi Könyvkiadó, 1994.)
Pataki F. szerk.: Csoportlélektan (Gondolat Kiadó, 1980.)
Lewin: Csoportdinamika (Közgazdasági és Jogi Kiadó, 1975.)
Name of the subject: Situational exercises in psychotherapy and music therapy
Content of the subject:
Aim of the subject is providing wide scale individual experience of clinical use of music
therapy: how to prepare and lead a therapeutic session, how to analyse and interpret it.
Another goal is to introduce the applicant into the process of psychotherapeutic relationships
in the framework of role playing games (possibly using video feed-back). The next aims are
to help the students to exercise the function of psychotherapeutic contacts, to learn the
adequate use of music materials (improvisation and receptive music) and to handle and
process the analysing critics. The topics touch upon the fields from primer prevention through
healing and dealing with handicapped people to rehabilitation, from the age of children to the
age of elderly people, until the topic of dying (self-knowledge, personality development,
visual impairment, learning difficulties, autism, psychiatric healing, addictions, lethal diseases
etc.).
Literature:
R. Higgins:
Approaches to Case-Study
A Handbook for Those Entering the Therapeutic Field
(Jessica Kingsley Publishers, London, 1993.)
Name of the subject: Psychodiagnostics
Content of the subject:
General examination methods of psychic phenomena and disturbances: psychodiagnostic
treatments, theoretical and practical knowledge of tests, basics of diagnostic criteria. The
students will be introduced into the application of personality and intelligence tests for
children (MAWIK, Binet, World Game, and Puppet Diagnostic Test). The diagnostic
possibilities of spontaneous game play will be discussed according to the following topics:
psychodiagnostic treatments, knowledge and application of tests, interview, estimation scale,
life course scale, life analysis, performance tests, projective methods, neuropsychological
methods. Working musical, phonetic, acoustic, kinesthetic estimation scales out.
Literature:
Mérei F. - Szakács F.: Pszichodiagnosztikai vademecum I-II. (Tankönyvkiadó, 1988.)
Torda Á. szerk.: Pszichodiagnosztika I-II. (Tankönyvkiadó, 1988.)
Name of the subject: Verbal group
Content of the subject:
Psychological work situation when psychological rules and dynamical characteristics of
groups are discussed. The students will learn the basic tasks and work methods of leading a
group. (The general rules of psychotherapy are valid for this situation, so the leader of the
group can be only an external expert, who can‘ be an examiner of the students.)
Name of the subject: Supervision
Content of the subject:
Supervision is a tool for enhancing the psychotherapeutic activity. It deals with the factors of
the students‘ personality and the dynamics of the therapeutic situations. During the practice of
supervision a guided advisory process is going on according to the personality of the therapist
and the dynamic requirements of the therapeutic situation. The group and individual process
makes necessary to create the conditions of psychological work (closed psychological space
and adequate rules). (The leader of the group can be only an external expert, who can‘ be an
examiner of the students.)
Name of the subject: Pedagogy
Content of the subject:
General topics, aim and trends of pedagogy. The traditional and the child-centered pedagogy.
Explanation of basic concepts and technical expressions. The concept and role of need in
pedagogy. Need oriented pedagogic idea. The approach of learning and teaching in different
trends. The interpretation of skill development in pedagogy. Pedagogic therapeutic work.
Literature:
Németh A.: Alternatív iskolamozgalmak Európában
(Új Pedagógiai Szemle XLVI. évfolyam/2.)
Domschits M.:Fejlődés, fejlesztés, tanítás
(Új Pedagógiai Szemle XLV. évfolyam/5.)
Zsolnai
J.:
Egy
gyakorlatközeli
pedagógia.
A
képességfejlesztéstől
a
személyiségfejlesztésig
(Oktatáskutató Intézet, 1986.)
Horváth P.- Sándor É.: Képzőművészeti pedagógiai terápia
(BGGYTF, 1995.)
Name of the subject: Fundamentals of working with handicapped people
Content of the subject:
Review of basic problems of working with handicapped people as a professional therapeutic
activity aiming at satisfying special educational needs. Introduction: absolute and relative
concept of handicap. Theoretical paradigms of working with handicapped people and the
effects of such paradigms to the practical work: description of person-centered clinical,
system-organized and interactive paradigms. Handicap as an individual category: normality
and abnormality. Levels, reasons, consequences of injuries: injuries, disturbances, handicap,
with special regard to communication and its problems. Diagnostics, population, terminology,
typology: main and subgroups of handicap. Field and characters of compensatory work with
the handicapped. Handicap as an educational, social political and administrative category:
selection, contra-selection, segregation, integrative and inclusive forms of education.
Handicap as an interpersonal category: attitude, identity, role, labeling, stigma. Condition,
correction, education and therapy.
Literature:
Bánfalvy Cs.: A
fogyatékosok
társadalmi
integrációja
és
a
gyógypedagógia
szociológiai értelmezése (Valóság, 1995/4.)
Goffmann, E.: Stigma és szociális identitás
(In: A hétköznapi élet szociálpszichológiája Bp. 1981.)
Könczei Gy.: Fogyatékosok a társadalomban. Újabb adalékok a kitaszítottság
anatómiájához ( Bp. 1992.)
Lányiné Engelmayer Á.:A külföldi integrációs modellek tanulságai a hazai
alkalmazás számára (Új Pedagógiai Szemle, 1992./4.)
Pálhegyi F.:
A fogyatékosság bélyegének pszichodinamikája
(Gyógypedagógiai Szemle, 1984./1.)
Zászkaliczky P. szerk.: Tanulmányok a gyógypedagógiai pszichológia és
határtudományainak köréből Lányiné dr. Engelmayer Ágnes 65.
születésnapjára (BGGYTF, 1995.)
Csányi Y.:
Fogyatékosok integrációja - nemzetközi és hazai áttekintés
(Gyógypedagógiai Szemle 1990./4.)
Name of the subject: Fundamentals of health psychology
Content of the subject:
History of health psychology and its relation with social sciences. Normality, health and
illness. Health behavior, role of ill people. Healthcare, health education. Posotove thinking
and health. Believes of health and illnesses. Placebo effect. Concept of mental hygiene, its
origin and tendencies. Mental hygiene at schools. Basic forms of helping methods to mental
hygiene
(consultation,
counseling,
personality
development,
self-development).
Psychotherapy for ―healthy people‖.
Literature:
Dr. Buda B. szerk.:
Mentálhigiéné (tanulmánygyűjtemény, Animula, 1994.)
A mentálhigiéné szemléleti és gyakorlati kérdései (Támasz
Kiadó, 1995.)
Gerevich J.:
Közösségi mentálhigiéné (Gondolat, 1989.)
Barczi M.:
Pszichés egészség és egészségkultúra (Tömegkommunikációs
Kutatóközpont, 1985.)
Kopp M.-Strabkij Á.: Alkalmazott magatartástudomány (Corvinus Kiadó, 1995.)
Name of the subject: Psychology of music
Content of the subject:
Psychoacoustics. Elements and organization of music. Exploration of ―working mechanism‖
of music. Voice as a natural phenomenon, as a sensation and as conscious activity of humans.
Making contacts (contact theory) and art. Musical development of children. Connection
between the thinking of children and their musical development. Musical development of
kindergarten school and elemetary school children. Neurologic basics of musical experience.
Hemispheric activity – musical functions of the brain. Functions of the ear and of the acoustic
sensation. Vibroacoustics. Musical talent and hemisphere dominance. Music, emotion and
vegetative function. Physical, physiological and emotional effects of music. Mental and
psychological effect of music: states of consciousness and their relation to music. Common
structures in music and in psychics. Connection between musical ―language‖ and musical
―speech‖. Music in education (Kodály, Orff). Music in medicine. Reception of music and
composing. Philosophy and history in music. Tests of musical capabilities.
Literature:
Vitányi I.: A zene lélektana (Gondolat Kiadó, 1969.)
Laczó Z.: A zenepszichológia alapkérdései I-II.
(Az ének-zene tanítása 1970./6. 1971./5.)
Művészetpszichológia (Gondolat Kiadó, 1983.)
Robertson, P.: Music
the Mind (London, 1996.)
Chrisley - Henson: Music and the Brain (1980.)
McNiff, S.: Art as Medicine (Shambala: Boston
London, 1992.)
Storr, A.: Music and the Mind (Harper Collins Publishers: London, 1993.)
Name of the subject: Theory of music therapy
Content of the subject:
Music in the history of healing. History of Hungarian music therapy. Description of
international trends of music therapy. Aims and goals of the world Federation of Music
therapy and of the European Committee of Music therapy. Definitions of music therapy and
their analysis. Classification of music therapy according to methods, fields of operation, aim
and contect, forms of working and fields of application. Application of therapeutic work: a)
observation (experience and distinction of objective and subjective observation in mjusic
therapy, possibilities of verbal and nonverbal observation, experience and definition of
transfer effect), b) Short review of communication theories, c) communication by using music
therapy (research of nonverbal communication and observation of infants, theories of object
katexis and other frameworks of interpretation, special forms of transmission and countertransmission of emotions). First interview (therapeutic plan), evaluational processes in music
therapy. Research in music therapy. Trends and methods. Theoretical basics of practical work
by using music therapy. (Free improvisation, analytic, metaphoric, creative, receptive music
therapy, verbal and nonverbal topics in music therapy, their definitions and theoretical
backgrounds).
Literature:
H. Smeijsters: Musiktherapie als Psychoterapie (G. Fischer Verlag, 1994.)
M. Priestley: Analytische Musiktherapie (Buchandlung Nachfolger GmbH. (Stuttgart,
1983.)
The Art
Science of Music Therapy. A Handbook (Harwood Academic Publishers,
1995.)
Alvin, J.: Misic Therapy (Stainer
Bell, London, 1996.)
Bunt, L.: Music Therapy (Routledge, London, 1994.)
Schalkwijk, F.W.:Music and People with Developmental Disabilities (Jessica
Kingsley Publishers, London, 1994.)
Schwabe, Ch.: Methodik der Musiktherapie und deren theoretische Grundlagen
(Johann Ambrosius Barth, Leipzig, 1986.)
Dr. Madarászné - Urbánné szerk.: Zene és terápia (Szöveggyűjtemény, BGGYTF,
1996.)
Name of the subject: Singing pedagogy
Content of the subject:
Breathing technique. Physiological experiences regarding singing voice. Building reflexes
(singing voice and voice production in moving system, body relaxation methods, projection of
voice into the space, mimics, creation of singing voice sensations). Methodological
fundamentals according to practical experiences. (Choosing proper songs for people of
different emotional and intellectual levels. Exploitation of dramatic possibilities of songs.
Spatial projection of rhythm and movement of melodies in parallel with sound production and
auditive cognition. Playing with songs and playing songs.
Literature:
Dr. Frint T.: A hangképzés zavarai (Medicina Kiadó, 1982.)
Vági Istvánné: Hangképzéselmélet (Tankönyvkiadó, 1975.)
Kerényi M. Gy.: Az énektanítás művészete és pedagógiája (Zeneműkiadó, 1966.)
Sztanyiszlavszkij: A színész munkája
I: Az átélés iskolája
II: Az alakítás iskolája 1950-51.
Name of the subject: Knowledge of musical compositions and styles
Content of the subject:
Music of nature peoples. Music of medieval age, renaissance, baroque and classic styles
chosen by therapeutic point of view. Romantics, musical tendencies of the twentieth century,
typical pieces of jazz and popular music and their interpretation. Review of the therapeutic
possibilities. Improvisative songs of free form (childrens‘ songs, short speeches, shamanistic
songs, toccata and fantasy). Musical humor (Haydn), musical interpretation and madrigals
(Vivaldi, Bach, Alban Berg, Gesualdo), metamorphosis, character variations (Beethoven),
bass of stressed role, polyphony composed to be monophony (voice organ and Bach,
Paganini), ―breaking rules‖ in music (Haydn), mourning (Mahler, Chopin, Schubert),
seduction (Bizet, Mozart), fear and anxiety (Schönberg, Pendericki), calmness (Gregorian,
Bach), dance (dance music of different periods of time), extremities of romantic music and
their effect. Dominamce of musical elements, observation and explanation of effects
(physical, physiological, psychical). Observation of interaction between music and
personality. Procession of given musical pieces from music historical and music theoretical
points of view.
Literature:
Kroó Gy.: Muzsikáló zenetörténet I- IV. (Gondolat Kiadó, 1964-68.)
Szabolcsi B: A zene története (Zeneműkiadó, 1984.)
Menuhin-Davis: Az ember zenéje (Zeneműkiadó, 1981.)
Pécsi G.: Kulcs a muzsikához (Tankönyvkiadó, 1987.)
Kárpáti J.: Kelet zenéje (Zeneműkiadó, 1981.)
Kroó Gy. szerk.: Miért szép századunk zenéje? (Gondolat Kiadó, 1974.)
Várnai P. szerk.: Miért szép századunk operája? (Gondolat Kiadó, 1979.)
Salzmann, E.: A 20. század zenéje (Zeneműkiadó, 1980.)
"Orfeusz könyvek" zenetörténeti sorozat
"A hét zeneműve"- sorozat
Name of the subject: Theory of music
Content of the subject:
Rhythm and songwriting, singing and instrumental music, typical tone and harmony world of
different styles of eras, forming sounds. Review of theoretical background according to
practical experiences helping choosing music and leading and interpretation of improvisation.
Effects of turning harmony, changing tempo, and volume. Different typical musical
phenomena as therapeutic instruments and therapeutic effects. Traditional and other methods
(pl. picture) of writing music.
Literature:
Ujfalussy J.: A valóság zenei képe (Zeneműkiadó, 1962.)
Gárdonyi: Elemző formatan (Zeneműkiadó, 1979.)
Darvas G.: A zene anatómiája (Zeneműkiadó, 1974.)
Frank O.: A funkciós zene harmónia és formavilága (Zeneműkiadó, 1978.)
Blackwood, A.: A világ zenéje (Origo Könyvek, 1994.)
Szőnyi E.: A XX. század zenei nevelési irányzatai (Tankönyvkiadó, 1988.)
Name of the subject: Voice and movement therapy
Content of the subject:
Historical aspects, main trends (different styles and vocal/phonetic manifestation of preverbal
cultures, vocal/phonetic manifestations of infant age, basic concepts of linguistics:
segmentation phonology, intonation, prosodia, prosodic phonology, discursive/non-discursive
communication, review of application of human voice from historical point of view, review of
application of human voice from developmental psychological point of view, main stages of
development of human voice into therapeutic tool). Basic concepts of phoniatry and
physiology, clinical pictures, physiology of breathing, voice therapy as a form of
psychotherapy. Jungian theoretical bases and psychotherapeutic methods of voice and
movement therapy. Freud: acoustic world of instincts. Jung: acoustic archetypes, acoustic
manifestations of Ego, Self, Shadow and other archetypes. Subpersonalities or monophrenia,
active imagination and amplification, psychotherapeutic aspects of image, voice, mask,
speech and articulation. Primitive phonetics phenomena (crying, laughing, sighing, hiccup,
gasping, shouting), sociophysical and political aspects of voice production. Methodical
parameters of voice and movement therapy (ideokinesis, breathing, register-theory,
movement, massage, half notes, tones, vocal resonators, facial expressions, resonance in the
facial cavity, vocal cords, dramatic aspects of voice, human voice and breathing as
suppressing mechanisms. Analysis of shamanic rituals, recordings (clinical analysis of
production of singers, actors and other people), analysis of clinical cases and therapies,
individual therapies and analytical processes.
Literature:
Newman, P.: The Singing cure (London, Riders Boox, 1993.)
Sundberg, J.: The Science of the Singing voice (Northon Illiorias University Press,
1987.)
Mc. Farlane, b.: The Voice and Voice Therapy (Prentice Hall, New Jersey, 1988.)
Martin, J.: Voice in modern Theatre (Routledge, London, 1991.)
Name of the subject: Improvisation
Content of the subject:
The importance of building and development trust between the therapist and the patient
through procession of individual experiences. The use of music as a tool. Possibilities of selfexpression through music. Acceptance, confrontation and hidden sources of the personality,
real connection between psyche and physics. Borders of the therapist‘s personality,
sensibility, identity. Healing power of physical and psychical energy of the therapist. The
importance of flexibility. Common experience of regressive processes and respecting borders.
Identification with the client and professional distance keeping. Perception of transfer and retransfer of feelings. Consequences of therapeutic work. Improvisational exercises: silence –
voice, line – melody – harmony, variation games. Rhythm, dynamics, tone, form, text-music.
Atonal, tonal, modal, pentaton sounds, harmonic and disharmonic chords. Articulation,
creating harmony, orchestration, creative musical exercises. Organizing improvisation
(individual, group, with and without musical instruments, guided, communicative organic,
theme oriented, metaphoric, dramatic, symbolic, connected to movement) and psychological
and therapeutic interpretation of the experiences.
Literature:
Apagyi M. - Lantos F.: Szerkesztés és rögtönzés (Zenei és vizuális improvizáció)
Parlando folyóirat 1980-81.évfolyam
Tusa E.: Megtervezett véletlenek
Ének-zene tanítása 1987-89. évfolyamok
Szabó H.: Énekes improvizáció az iskolában I-III. (Zeneműkiadó, 1976-80.)
Gonda J.: A rögtönzés világa I - II - III. (EMB, 1996.)
Hegi, F.: Improvisation und Musiktherapie (Junfermann Verlag, 1993.)
Name of the subject: Dance and movement therapy
Content of the subject:
Anatomic and physiologic basics of visceral, tactil (touch, pressing, pain, heat), vestibular,
movement and proprioceptive perception. Their connection with self-development and selfexperiences. Their manifestations and use in dance therapy. Psychoanalytic object katexis
theories, basics and dance therapeutic respects of modern psychoanalytic and development
psychological theories. Psychology of creation. By continuous experience of somatic
experiences (for example breathing, balance, moving, touch, voice production, space
perception etc.), by using imagination we experience the changes of our physical condition
and the possibilities of making contact with another people. Movement improvisation, first of
all according to contact dynamics. Working on individual topics formed by body awareness
experiences.
Literature:
Juhász S. szerk.: Nonverbális terápiák (Animula, 1991.)
Hörmann, K.: Musik und Tanztherapie (F. Hettgen Verlag, 1988.)
Payne, H.: Dance Movement Therapy Theory and Practice (Tavistock/Routledge,
London, 1992.)
Peter-Bolaender, M.: Tanz und Imagination (Junfermann Verlag, Paderborn, 1992.)
Kulcsár Zs.: Korai személyiségfejlődés és énfunkciók (Akadémia Kiadó, 1996.)
Bálint M.: Az őstörés (Akadémia Kidaó, 1994.)
Kállai J.: A térélmény kultúrtörténete és pszichophatológiája (Tercia Kiadó, 1997.)
Name of the subject: Ethics
Content of the subject:
Basic principles of Codex of Ethics of Hungarian Association of Psychology and European
Metacodex. Music therapy activity as a profession. Ethical norms of a music therapist and
their place in the moral system of different basic qualifications. Outlines of criteria necessary
for practicing the profession, with special regard to protection of human rights and to
connection between cure and education. History of ethics, system of ethical principles. The
place of human beings in the society from moral and legal points of view. Ethics of
psychotherapy. Rights of the client and responsibilities of the therapist. The psychotherapeutic
activity. Ethical considerations of research and publication.
Literature:
A Magyar Pszichológiai Társaság Etikai Kódexe
Name of the subject: Practical work in institutes
Content of the subject:
Direct contact with the fields of activity of knowledge acquired. Observational participation in
the application of music therapy and practical use of the knowledge. Observation of the
ethical requirements of music therapy and their keeping in mind. All of the institutes belong
to the places of possible practice where music therapy can be practiced.
Name of the subject: Practice
Content of the subject:
Starting of individual therapeutic practice according to theoretical knowledge under helping
professional supervision. Helping the preparation, discussion the difficulties.
Specialization (one should be chosen from the following subjects):
Name of the subject: Visual interpretation of music
Content of the subject:
Acquiring the knowledge of psychology of reception and creation. Alloy and interaction of
music in several phases. Recognition of developmental needs. Transfer effect of visual
representation of music to cognitive functions and to the entire personality. Psychodiagnostic
and psychotherapeutic characteristics.
Literature:
Kárpáti A.: Látni tanulunk (Akadémia Kiadó, 1991.)
Hárdi I.: Dinamikus rajzvizsgálat (Medicina, 1983.)
Farkas A.-Gebnár V. szerk.: Vizuális művészetek pszichológiája. Szöveggyűjtemény
(Nemzeti Tankönyvkiadó, 1994.)
Mees-Christeller, E.: Kunsttherapie in der Praxis (Urachhaus, 1988.)
Dynamisches Zeichnene (Uitgeverig Zeveister, 1991.)
Jakab I.: Képi kifejezés a pszichiátriában (Akadémia Kiadó, 1998.)
Name of the subject: Improvised musical movements
Content of the subject:
Endear music, experiencing the reactions of ourselves and others, joy of life, absorbing,
catharsis. Identification and transformation. Reaching inner freedom and its building in life
style. Learning of the method applied through individual experiences and by discussion of its
psychological effect. The possibilities of personality changes through musical-motional
exercises of dance therapy (in individual and group forms).
Literature:
Kokas K.:
A zene és mozgás (Pedagógiai Szemle, 1980./528. oldal)
Személyiségformálás zenével (Bp.Műv.Közp. tájékoztatója,1979/3-4.)
A zene felemeli kezeimet (Akadémia Kiadó, 1992.)
Öröm, bűvös égi szikra ( Akkord Zenei Kiadó Kft. 1999.)
Name of the subject: dramatic folk games and play therapy
Content of the subject:
Exploration and understanding the significance of games through the development of games,
experiencing emotions and the communication role of games. Introduction to basic principles
and practice of basic musical theater of ORFF. Exploration of joy of games by learning
dramatic folk games and other musical games, collecting experiences, activation of emotions
and readiness for making contacts. Development of abstraction, lessening of tension and
developing creativity. Introduction to the knowledge of symbolic message of games.
Literature:
Magyar népi gyermekjátékok (Tankönyvkiadó, 1977.)
Kiss Á.: Gyermekjáték gyűjtemény (Könyvértékesíő Vállalat, 1984.)
Falvay K.: Ritmikus mozgás, énekes játék (OPI, 1990.)
Stöcker K.-né szerk.: Játékpszichológia (Eötvös József Kiadó, 1995.)
Benedek L.: Játék és pszichoterápia (Animula, 1992.)
Biedermann: Szimbólumlexikon ( Corvina, 1996 )
Pál J. - Újvári E. szerk.: Szimbólumtár ( Balassi Kiadó, 1997 )
Name of the subject: psychodrama, sociodrama
Content of the subject:
Introduction to the knowledge of psychodramatic tools. Psychodrama as a method for getting
to know ourselves. Psychodrama as a therapeutic tool working by actions in the group and
striving to explore inside and outside relationships of the members of the group. Uses a lot of
dramatic methods making possible direct exercising of empathy. Spontaneity developed in
psychodrama serves as a general base of improvisation. Dramatic acquisition of empathic and
self-expressing capabilities using movement and music (singing voice and musical
instruments).
Literature:
Mérei F. - Ajkay K. - Dobos E. - Erdélyi I.: A pszichodráma önismereti és terápiás
alkalmazása (Akadémia Kiadó, 1987.)
Komlós P. szerk.: A pszichodráma (Akadémia Kiadó, 1983.)
Moreno: Psychodrama (Beacon Hause I.N.C., 1972.)
Name of the subject: relaxation, music and symbols
Content of the subject:
Basic methods of relaxation and techniques of somatic introspection (for example focusing).
Analysis of relaxation and its somatic sensation make possible to use methods of connecting
with music which open new and complex ways of application of music therapy (application of
the effects of rhythm, tone, movement, stretching and relaxing and their connection in the
body image). Spontaneous experiences of relaxation can be transformed into the procession of
music therapeutic experiences.
Literature:
Bagdy E.-Koronkay B.: Relaxációs módszerek (Medicina, 1987.)
Művészetek - szimbólumok - terápiák című konferencia előadás-gyűjteménye
(Pszichagogos Bt., 1995.)
Kokoschka A.: Tudatállapotok, tudatszintek - terápiás munka (Fordítás kézirat)
TEACHERS OF THE SUBJECTS
Psychology I-II-III.
dr. Emőke Bagdy
Psychiatry
dr. Miklós Magyar
Patopszichológia
dr. Ferenc Szakács
Psychotherapy I-II-III.
dr. Emőke Bagdy
Situational
exercises
in dr. Emőke Bagdy, dr. Ildikó Erdélyi
psychotherapy and music therapy
Psychodiagnostics
dr. Noémi Császár
Verbal group
N.N. lecturer in charge
Supervision
N.N. lecturer in charge
Pedagogy
dr. Gabriella Papp
Fundamentals of working with Péter Zászkaliczky
handicapped people
Fundamntals
of
health dr. Emőke Bagdy
psychology
Psychology of music
dr. Ildikó Konta, Mrs. Urbán Katalin
Varga
Theory of music therapy
dr. Ildikó Konta, Mrs. Urbán Katalin
Varga
Éva Für
Singing pedagogy
Knowledge of compositions and dr. Ildikó Konta, Mrs. Urbán Katalin
styles
Varga
Theory of music
Mrs. Urbán Katalin Varga, László Sáry
Voice and movement therapy
Dr. Anna Fekete PhD.
Improvisation
János Gonda, László Sáry, Dr. Anna
Fekete PhD., Mrs. Urbán Katalin Varga
Dance and movement therapy
dr. Márta Merényi
Ethics
dr. Noémi Császár
Practical work in institutes
dr. Ildikó Konta
Practice
Dr. Anna Fekete PhD.
Visual interpretation of music
dr. Ildikó Konta
Improvised musical movements
dr. Klára Kokas
Dramatic
folk
games,
game Mrs. Urbán Katalin Varga
therapy
Psychodrama, sociodrama
dr, Ildikó Erdélyi
Relaxation, music and symbols
dr. Emőke Bagdy
According to the present plans of the organizers, graduated music therapists could use
their knowledge on the area entitled by their basic diploma (for example if the original
qualification of the music therapist is kindergarten teacher then he or she could practice music
therapy only in kindergartens). Furthermore the basic conception of the education contains the
possibility of changing the curriculum in the future according to own experiences and also by
experiences mediated by foreign experts.
One of the most important parts of the education is the Kokas-method. It can be a very
important tool for development of music therapy in Hungary.
The Kokas-method
“People mistakenly assume that their thinking is done by their head; it is actually done
by the heart which first dictates the conclusion, then commands the head to provide the
reasoning that will defend it. “
(Anthony de Mello)
One of the treasures of the Hungarian music therapy is Dr. Klára Kokas and the
method developed by her which thus called Kokas-method. The Kokas-method is used
successfully by Dr. Klára Kokas all over the world. The essence of the method is helping the
reception of classical music. Its aims are awakening emotions and preparation of the soul for
reception of the emotions. It consists of two main parts. The first part can be called feeling
music and the second part (called ―collecting breadcrumbs‖) sharing experiences, thoughts
and dances. The method can be applied for children and adults, healthy and mentally or
physically handicapped people equally. The therapist or the teacher (depending on whether
the method is used for therapeutic or for educational purposes) makes a possibility for the
clients or students for creating free combination of movements (―dance‖) inspired by the
music and for creating their own personal story. If it is a therapy then this story plays a
significant role in exploration of the problem of the client and in helps understanding the
problem. The method doesn‘t concentrate on the structural analysis of music but on the
personal pictures brought about the given piece of music. It doesn‘t help necessarily to
express feelings by the student or client but to feel music and to receive it. Expression is a
secondary benefit. The method concentrates on tuning in the piece of music and on somatic
and psychical acceptance of it.
The expression manifests itself in the so-called ―transformation‖. It is a natural
phenomenon for a child but an adult has to learn it again. During this transformation inspired
thoughts and dances develop and the participants get a chance to show their dances and share
their thoughts with the others. Such sharing experiences help the members of the group and
the client or student being in the main role (who can be called protagonist if we use the
language of psychodrama) to explore their inner world and to give courage for those who
have more inhibitions and have difficulties in choosing this form of liberated expression.
Music teachers are participate often on the courses of Dr. Klára Kokas. According to
the experiences teachers have more difficulties in acquiring such a deliberated way of self-
expression, although they should be the transmitters of it. The world is turning upside down
on the courses of Dr. Klára Kokas, namely the children teach the adults. Children do it with
pleasure since they don‘t have to meet any requirements of any given standards but they
should evolve and show their inner qualities. They concentrate their inside world instead of
watching the expectations of the outside world. There are no unmusical or tone-deaf children
on the course. Everybody presents himself or herself and this is the most to be expected from
them.
The free associations called by the given piece of music and manifesting in movement
or verbal expressions remind to the basic elements of psychoanalysis. The goal of the therapy
is the same, namely to explore suppressed experiences from the subconsciousness but – and it
can be a difference from the classical psychoanalysis – the concrete experiences shouldn‘t
have necessarily to bring into conscious and to interpret. Using metaphoric qualities of music
and movement the sometimes traumatic experiences don‘t necessarily manifest themselves
but being processed as well as it should happen in a successful dream work.
Most of the psychotherapies are built upon verbalism or at least verbalism forms an
essential part of them. In the course of the Kokas-method the participants don‘t have to talk
about their movements or dances. There aren‘t any expectations regarding such ―confessions‖.
Participants can experience the feeling of unconditional acceptance. The method stresses
reception and acceptance. Most of the time the participants use their body movement
automatically while listening to music. They move, use their gestures, tell stories by their
movements or possibly by words during the discussion after their dancing. Most of the adults
have already forgotten such a way of deliberated experiences so they should learn it again.
Children participating in the group don‘t care if they are watched by anybody or not.
Based upon such feeling they don‘t feel that they have to meet the requirements of any kind of
role. In such cases the personality consisting normally of an experiencing and a watcher part
looses its watcher status and it leads to catharsis produced by the experience. According to
Parsons different units of social structure work by rewarding personal behavior meeting the
requirements of role expectations and punishing deviations. The only expectation of Kokasmethod is not to expect anything from the participants and thus the atmosphere of
unconditional acceptance can be created which assures deliberation from the usual or even
pathological roles of participants.
At he very moment when the group members or – in case of individual therapy – the
client follow their feelings by their thoughts and express their thoughts by body movements
they loose their rule follower attitudes and become deliberated and creative. Dancing is not
necessary by all means. The essence is that they can dance if they want. It helps to express
their feelings and thoughts. Of course probably they don‘t want to share such feelings and
thoughts with the other members of the group and in such a case they have the right to keep
them in secret. It can be the sign of suppression also of course. But the remedy is not to
provoke them but to accept them unconditionally.
Another problem can manifest itself when the participants want to move in a goodlooking way. This difficulty appears in the cases of adults most of the time. It comes also
from a wish to meet requirements of a kind of role. Of course a child also want to be accepted
and thus behaves in a way that he or she could be ―worthy for being loved‖. That‘s why
children become followers of certain samples. When they grow up they don‘t want to get rid
of such samples because consciously or most of the time unconsciously they are afraid of
loosing love. This is the way of getting rigid and loosing creativity. By the Kokas-method the
original ―ancient trust‖ can be rebuilt and thus the method helps the participants to regain their
creativity lost or suppressed in their childhood.
According to the basic principles of humanistic psychology the Kokas-method
declares that our outlook on life is fundamentally influenced by the way of meeting with our
inner experiences and with the experiences of the outside world. The method is clientcentered, stresses the principle of unconditional positive acceptance, nondirective, congruent
and empathic and thus reminds the basic principles of humanistic psychology.
According to the basic ideas of Gestalt therapies the method concentrates to the
present, to the ―here and now‖ feeling and the therapist doesn‘t interpret the experiences of
the client. Instead of interpretation they work together for higher level of self-understanding
and better self-acceptance by the client.
Dr. Klára Kokas pays attention to form of musical taste of children participating in her
groups. Instead of serving the co-called prevalent ―public taste‖, she takes into consideration
that a therapist can transmit his or her feelings and thoughts only through his or her
personality. If the therapist isn‘t congruent namely uses a kind of music which is in his or her
view not valuable enough then he or she isn‘t trustworthy. According to this principle Dr.
Kokas uses only classical music instead of so-called ―light‖ music. She strongly believes that
certain pieces of classical music can mobilize those layers of subconsciousness which are
common in everybody irrespectively of the style of music we listen to every day.
One of the hidden aims of Kokas-method is development of intelligence. Dr. Rauscher
Dr. Shaw and Dr. Ky's studies confirm, and substantially extend their earlier research which
demonstrated an unmistakable casual link between music and spatial intelligence. (Rauscher
et. al, 1995) Other works (for example Rauscher, et al., 1993) made on the field of music
therapy justified that music lacking complexity or which is repetitive may interfere with,
rather than enhance, abstract reasoning. Experiences of such research results are also applied
by using the Kokas-method.
A very important factor of the Kokas-method is building communities. In the
atmosphere of mutual unconditional positive acceptance the participants can reveal their own
inner self to the other members. Thus they can experience the feeling of belonging to eachother. Thus the method is aiming at one of the basic human need, namely to love and to be
loved (according to Goethe ―To love and to be loved is the greatest pleasure on the world‖).
The Kokas-method breaks rules and breaks walls down. It leads from verbal to
preverbal, from following rules to creativity, from reproduction to production from playing
roles expected by the majority of the people to unconditional positive acceptance. It‘s an
integrated method. It combines the technique of free associations used by classical
psychoanalysis for reaching the roots of problems, the encounter-theory of humanistic
psychology, the basic principals of client-centered therapy of Carl Rogers (empathy,
congruence, unconditional acceptance), basics of Gestalt-approach, but some psychodramatic
elements and searching for transcendent experiences beyond the human existence are also
play important role in the method.
A small video piece of the Kokas-method can be found on CD enclosed to the
dissertation. The file can be played by any type of Windows Media Player.
Curriculum vitae of Dr. Klára Kokas:
Dr. Klára Kokas was born in Szany, a small village in the Western part of Hungary. She
obtained her teaching diploma at the Franz Liszt National Academy of Music in Budapest in
1950, and her PhD in psychology and pedagogy at the Eötvös Lóránd University in Budapest
in 1970.
Klára taught and worked as chorus master at primary and secondary schools, and at the
Teacher-Training College of Szombathely, Hungary. In 1956 through 1965, she was the first
teacher in Hungary to work out and use a special daily music class curriculum for a primary
school, and then for kindergarten. She also developed and taught therapeutic classes for
abandoned children, and later for blind children, first from 1965 through 1970, then
continuously from 1990.
Dr. Kokas was the director of Research at the first Kodály Institute in the United States, the
Kodály Musical Training Institute in Boston, Massachusetts, from 1970-73. Upon her return
to Hungary, she taught as an assistant professor at the Zoltán Kodály Pedagogical Institute of
Music from 1972 through 1989. During this same period she also coordinated the
experimental integrated arts education program initiated by the Hungarian Academy of
Sciences.
In 1990, Dr. Kokas founded the Agape - Joy of Music, Joy of Life Foundation in Budapest.
Dr. Kokas has received four international prizes in recognition for her achievements in music
education and therapy. In January, 1999, she was awarded the Apáczai Csere János Prize, The
highest distinction in education in Hungary.
From her home base in Hungary, she has lectured, presented papers, and taught courses in
four languages in all European countries from Scandinavia to Italy and Greece, as well as in
Australia, Canada and the United States and Iceland. In her four books and almost one
hundred articles, Dr. Kokas discusses her insights and findings about the most important
issues of her field of study. A great number of filmed and videotaped documentaries have
been released about her work.
Klára Kokas lives in Budapest. She has two children and four grandchildren, including a set
of twins.
Her greatest passion is her love of nature. She not only seeks recreation, but also does her
professional work out of doors as much as possible. Understandably, Klára is dedicated to the
cause of environmental protection.
Address of her home page: http://www.bmc.hu/kokas
Other opinions about Dr. Klára Kokas:
In her work as teacher, Klára Kokas has been led by her admiration and respect for the
autonomy of the self. She helps personality to evolve, to be strenghtened. She employs music
and dance to make this very complex thing happen to the essence of our unmistakeable
identity that we all bring with us from birth.
Klára Kokas is a teacher in the most ancient sense of the word: magician, ascetic, saint. She
makes an offering not only of her knowledge but of her entire highly-refined personality. It is
probably this secret of hers that the children - whom she teaches to enjoy the freedom of
movement and to love the gifts of music - learn to understand unaware. The secret of how we,
immured in our selves, can reach somebody else, immured in another self; of how that
encounter refines both; of how art can make our body and soul speak.
In all of her writings a sense of freedom shines forth, deep as well as responsible.
Péter Nádas, writer
Dr. Klára Kokas chose a pioneer creative way for teaching music a former student of Kodály.
She practices not only music therapy but forms personalities, enriches emotional worlds,
applies psychological education, develops empathy. Her ars poetica is the triad of personal
experience-touch, improvisative way free from stereotypes and serving humility.
Dr. Emőke Bagdy, professor of psychology
Possible ways of the future
"The gift of fantasy has meant more to me than my talent for absorbing positive
knowledge"
(Albert Einstein)
In this chapter I would like to outline the possible future of application of music
therapy in Hungary. Since the future roots in the past and present let me start with an analysis
of the situation of general education, namely with the results of an international survey called
PISA.
What is PISA?
The Programme for International Student Assessment (PISA) is an international
assessment of the skills and knowledge of 15-year olds. PISA is a project of the Organisation
for Economic Co-operation and Development (OECD) and participating member countries.
Participating countries work together to produce a student assessment that is valid, relevant
and authentic.
The first of three PISA assessments took place in March 2000. Three areas, or
"domains", of literacy were assessed. These are Reading literacy, Mathematical literacy and
Scientific literacy. In 2000, the main focus was on Reading literacy, while mathematical and
scientific literacy were minor domains. The second of three PISA assessments takes place in
March 2003. Samples of between 4,000 and 10,000 students will be assessed in each country.
(OECD: Programme for International Student Assassement)
11[11]
Hungarian results
In Hungary about 5,000 students in 150 schools participated in the assessment. This
survey studied the competences instead of lexical knowledge, namely the ability of practical
application of knowledge acquired at school. This survey is not advantageous from the point
of view of Hungarian pupils since the school system in Hungary is first of all science-centered
11[11]
Data published by the Ministry of Education (http://www.om.hu/)
and prepares for the higher education instead of preparing for life. It teaches more lexical than
pragmatic knowledge.
The average result of OECD countries was 500 points. Hungarian pupils reached 480
points in reading and 488 points in mathematics. Regarding scientific literacy the Hungarian
average was close to the OECD average, namely 496 points.
Another result of the survey that 38 % of the Hungarian pupils don‘t like to go to
school. (Vári e al., electronic publication)
Based upon the above facts Bálint Magyar, minister of education and István Hiller,
political under-secretary of Ministry of Education published a common statement (Magyar B.,
Hiller I., 2002) in which they call the attention among others to the following.
Problems of education of today in Hungary:
 Most of the children suffer disadvantages in the first four years of their
education and they can not overcome those problems further.
 Children falling behind are just dragged by the school system through the
school-years and finally they finish their studies without having proper
practical knowledge.
 The benefit of lexical knowledge is more and more limited nowadays and there
would be extremely important to develop the qualities of logic skills,
independent thinking, capabilities of communication and cooperation and
critical skills.
 Children are overwhelmed at schools and most of the time they suffer from
unnecessary anxiety.
Suggestions for solving the problems mentioned above:
 The maximum requirements of school-leaving examinations should be reduced
and should be moved toward problem-solving thinking.
 The rate of lexical knowledge should be reduced in the entire system of
education.
 The modernization of teachers‘ training is an important role together with
renovation of pedagogic culture.
The Hungarian school-system is built rather on recitation of the material taught than
urging for production or to find new solutions for problems or to explore connections between
different pieces of information. Based upon the above mentioned facts there is an urgent need
of a new subject teaching how to be more individual and stimulating creativity.
The interpretation of human character outlined by transactional psychology draws a
picture about a creative child living – most of the time in hidden form – in everyone of us.
According to this principle we ask the help of the inner creative child for solving problems
emerging on every fields of life. This creativity roots in the childhood and creativity is the
basis of life since every single time when we solve new problems creativity is needed.
The basic element of creativity is the capability for making associations between ideas.
It is needed for starting productive processes. Associative thinking is capable for making
connections between objects and ideas which have apparently no connection at all with eachother and thus it can create new solutions for new and old problems. The significance of
associative thinking is obvious on every fields of life: in scientific research (for eg.
discoveries), in business life (for eg. recognizing possibilities and brainstorming), in politics
(for eg. exploring hidden connections), in art (for eg. synesthetic thinking) and in healing (for
eg. free association method of classic psychoanalysis) etc.
The questions are: 1) What kind of tools we have for inspiring and developing
associative thinking? 2) Do we take the full advantage of such tools?
Our school system is built upon basically on verbalism. Nevertheless associations
develop on preverbal levels. Expressing them by words is only the next stage of thinking.
First the thoughts appear and words can just follow them. Every word is coded information.
The original information is not coded by words.
The significance of the problem of linguistic expressions was built into psychoanalytic
way of thinking by Lacan (1977). He attributes the fatal suppression of the original desire to
the process when language breaks into the life of the child. Thus during talking we are forced
to communicate through secondary manifestation of the objects of our conversation, namely
by words. Words are just pale images of the original thoughts. As Kahlil Gibran mentioned:
―For thought is a bird of space, that in a cage of words may indeed unfold its wings but cannot
fly‖. (Gibar, 1992)
Preschool children are still in possession of associative capabilities which has already
forgotten by adults. According to Bergson‘s suggestion (in: Huxley, 1997) ―the function of
the brain and nervous system and sense organs is in the main eliminative and not productive.
Each person is at each moment capable of remembering all that has ever happened to him and
of perceiving everything that is happening everywhere in the universe. The function of the
brain and nervous system is to protect us from being overwhelmed and confused by this mass
of largely useless and irrelevant knowledge, by shutting out most of what we should otherwise
perceive or remember at any moment, and leaving only that very small and special selection
which is likely to be practically useful.‖ Children are still close to such universal perception.
They surely perceive more from the outside world than adults who use the majority of their
organs to eliminate disturbing information. According to Ferenczi (1988) ―adults are relative
idiots, but children are omniscient‖.
This thought is also supported by the examinations researching amodal perception of
newborn children. Infants experience a world of perceptual unity, in which they can perceive
amodal qualities in any modality (hearing, touch, sight, kinesthesia, synesthesia, and so on)
from any form of human expressive behaviors, represent these qualities abstractly, and then
transpose them to other modalities. (for eg. Attachment Research Center, Buenos Aires,
electronic publication). The same process can be observed in the way of thinking of children.
They can create connections easily between different objects and phenomena having
apparently no connection among them. It stimulates and develops their imaginative power as
well. Children think in associations and their thoughts are often shoreless and flow away. This
is the advantage and disadvantage of their way of thinking, since on the one hand they can
create associations easily but on the other hand they can‘t think functionally very often.
Growing up we drive our thoughts into different concrete channels. It is similar to the process
of canalization of riverways. But thus some areas of thinking will be deprived from the
―water‖ of associative thoughts and such fields will never produce creative ideas. So if we
want to keep our thinking on a productive, creative level, we should do something to keep our
imagination and fields of thinking under permanent ―watering‖. The ―water‖, the food of
imaginations and creative thinking is given. The most natural ground of associative thinking
is art and the basic of all arts rooted on preverbal basis is music.
There is an urgent need of a subject teaching to think, to learn to create associations.
Such subject should be taught from the elementary schools. Way of thinking of children
wanders without boundaries from the archaic levels of the psyche to the highest levels of
spirituality. There isn‘t any special subject which could preserve and use such capabilities for
utilizing it as a source of creativity. There are different subjects of course aiming at fulfilling
the above requirements among others but there aren‘t any special subject dealing specially
with associative thinking. Music therapy and the Kokas-method applied successfully around
the world could be an alternative solution for this problem. The Kokas-method deliberates
thinking by activating the preverbal areas and by practicing unconditional acceptance. It
doesn‘t consist of teaching well planned syllabus and questioning or examining from the
material. The pupils or students are in the center and they map the world according to their
feelings, emotions and thoughts. It means that music therapy would have a significant role in
the system of education and not only in the field of teachers‘ training but on every level of
education. Enormous amount of advantages would appear if we didn‘t let the associative way
of thinking of children wasting away but we would foster it from the kindergarten until the
higher level of education.
Studying the curriculi of 67 institutes teaching music therapy I couldn‘t find any of
them which contains a subject dealing directly with development of associative thinking. Of
course there must be some subjects aiming at development of creativity, associative thinking
or analogical thinking but there aren‘t any subject aiming directly at improvement and
encouraging of creative thinking. However if we use preverbal tools in music therapy it would
be essential that associative qualities and analogical thinking of music therapists should be on
masters‘ level. Nevertheless up to now not a single subject was developed for this purpose.
For teaching associative thinking teachers should dare to think and associate openly
and to undertake the ―risk‖ that sometimes the pupils have better ideas than the teachers have.
Teaching associative thinking is difficult also because there are no ―recipe‖ for teaching.
Associative thinking is not linear or sequential but jumpy. Topics of the subject and the
exercises to be executed can be elaborated but the stream of thoughts can‘t be kept in a
channel planned in advance. Creativity development games helping creating associations
would be included in the coursebook of the subject.
According to the above two main goals can be determined:
1)
Development the qualities of associative and analogical thinking of music
therapists and elaboration of a subject to be included at first in the curriculi
of music therapists and later in the curriculi of general education.
2)
Music therapist in possession of analogical and associative thinking should
take a role in general education from elementary schools to the levels of
higher education.
In accordance with Point 1 a stop-gap subject should be created for extending and
preserving the knowledge of associative thinking. Thus – according to the well-known
analogy – the pupils and students should learn ―fishing‖ instead of just ―getting fish‖. This
subject should combine the existing associative thinking of children with the functional
thinking of adults. Music therapy with special regard to the Kokas-method should play a very
active role in the practice of this branch of study. The subject should help not just in finding
links among different fields of other types of studies but also on the field of cultivation of
human relations. According to the encounter-theory of humanistic psychology associations
would help to find similarities and analogies among people and it would make a great
contribution to better acceptance of other people and ourselves.
Fundamental sentence of the new subject could be ―See! It is similar to…‖ from which
the word or shout ―See!‖ is a kind of ―Aha‖-experience, the moment of realization of
associations, the moment of exploration of analogies and the second part of the sentence could
be a kind of ―crane-effect‖ (on the word ―crane‖ this time I mean the machine not the bird)
since it means to hoist an experience or possible solution over from a known situation to a
new one creating a new solution.
The new subject would be more practical than theoretical. Within the frameworks of it
elementary school children could learn how to ―hoist‖ the rules of easy learning (acquiring
knowledge through playing games) over their further studies. They could learn different
elements of different learning strategies and they could choose the best for themselves. Music
therapy with special regard to the Kokas-method could be the basis of this subject. The
experiments of Rauscher et al. (1993) proved that music can develop spatial intelligence and
is able to develop a lot of other (for example mathematical) capabilities (Rauscher at al.,
1997) Spatial intelligence is also a kind of analogical thinking since it means using a kind of
knowledge already acquired in different situations recognizing analogies (for eg. experiments
of mental rotation). Teaching the new subject needed well trained music therapists moving
released in the innovative world of free associations and analogical thoughts.
As Dr. Klára Kokas stated ―We do not know the highest and lowest pitches of the
scale of emotions. Is there any way to measure them? Hardly. But if the teaching of the arts is
excluded from the school curriculum, emotional education direct exposure to emotions, the
recognition of their triumphant truth will also be excluded. The emotionally deprived can only
express themselves in impermanent forms because they live on what is impermanent. Art with
its words, colors, sounds, shapes refines and conveys emotions: piety and fear; triumph and
defeat; regeneration, enthusiasm, and courage; calm and faith; the hands of those suffering in
solitude and the hands reaching out towards them; solace and God where nothing is. Of which
of these are we deprived in our secret selves? If the emotional treasure-house of the arts is
locked by the emotionally deprived, and the key is dropped into the well, no locksmith can
open the doors for the children locked out.‖ (Kokas, electronic publication)
Based upon the above I consider necessary the development of the frameworks of a
new subject called ―Analogical thinking‖ for the Hungarian system of education and its
introduction to the curriculi as a facultative subject from the elementary school to the higher
education. Teachers of the subject should be experts on the field of music therapy.
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APPENDIX : Questionnaire
1)
Is it a graduate training?
Yes
No
2) Is it a postgraduate training (Do the students need a degree when they start their
studies to become a music therapist or not?)
Yes
No
2/a.) If it is a postgraduate education, what kind of preliminary training do the students
need for applying to study music therapy?
3) How long is the education (in semester)?
..... semesters
4) What subjects do you teach during the education?
(What is your curriculum and credit points regarding the subjects?) (Can you give me
a website where I can possibly download the curriculum from or possibly can you
attach the curriculum to your e-mail response?)
5) What is the approximate ratio of theoretical and practical subjects in the education?
..../....%
6) Have you any special field of using music therapy what you focus on during the
education? For eg. using of music therapy in medical care (geriatrics, handicapped
people etc.), rehabilitation, prevention etc. Which is the main field of work of music
therapists in your country/region?
Yes, we focus mainly on.................
No
7) Which psychological school is dominant in your education?
Psychoanalytic
Behaviouristic
Cognitive
Humanistic
Trans-personal
8) Do you consider music therapy as a form of psychotherapy?
Yes
No
9) What kind of degree your students get at the end of the education?
...................... degree
10) Do you use only classical or "light" music (for eg. rock music) during the
education?
Yes, we use "light" music, for eg.....................
No, we use only classical music.
11) Have you any special field of education resulting from the culture of your
country/region? (for eg. if you use special country or folk music)
Yes, namely...............
No
12) Do you have international programs (courses for foreign students)?
Yes
No
AUTHORSHIP:
Hereby I assure, that I the existing work was prepared independently and without of
outer aid by me.
Debrecen, August of 2002
János Kollár
CURRICULUM VITAE
János Kollár
Year and Place of Birth:
1962, Debrecen, Hungary
Address:
H-4032 Debrecen, Görgey u. 18. IX./77.
Tel./fax: +36-52-482-340
E-mail: janoskollar@hotmail.com
Studies:
1968 - 1976 „Új Élet parki‖ Elementary School, Debrecen
1976 – 1980 „Tóth Árpád‖ Grammar School of Debrecen
Qualification: Graduation
1981 – 1986 Agricultural University of Debrecen
Qualification: Agricultural engineer
1990 – 1995 „Kossuth Lajos‖ University of Arts and Sciences
Qualification: Psychologist, Teacher of psychology
1992 - 1993 Hungarian Psychodrama Association
Qualification: Psychodrama assistant
1996
„Kossuth Lajos‖ University of Arts and Sciences
Qualification: Relaxation therapist
1997 – 1999 „Haynal Imre‖ Medical University, Budapest
Qualification: Master of clinical psychology,
Expert of mental hygiene
Short Description of Employments:
1986 – 1990
BIOGAL Pharmaceutical Works
Agricultural Research Development
(Debrecen, Pallagi út 13., 4032)
Research Worker
1990 – 1995
BIO-AGRO Co., Ltd.
(Debrecen, Pallagi út 13., 4032)
Interpreter, translator
1995 – 1997
Family Help Service
(Debrecen, Mester u. 1., 4031)
Psychologist
1997 - 2001
Health Care Home for Children
(Debrecen, Böszörményi út 148., 4032)
Clinical Psychologist, Mentalhygienist
2001 – 2001
Kollár Foundry
(Zagyvaszántó, Ady Endre u. 17., 3700)
Clinical Psychologist, Mentalhygienist
2001 - 2002
Home for Elderly People
(Debrecen, Pallagi út 9., 4032)
Clinical Psychologist, Mentalhygienist
2001 -
Debrecen University, Medical Center, Behavioral
Science Department
(Debrecen, Nagyerdei krt. 98., 4032)
Clinical Psychologist, assistant lecturer
Courses completed:
1991 – 1993 Psychodrama course organised by ―Lajos Kossuth
University of Arts and Sciences‖
1993 Creative Music Therapy Course organised by
Klára Kokas, psychologist, music therapist
1993 Continuing Education Activity sponsored by the
Center for Cross-Cultural Communication affiliated with
The Person-Centered Approach Institute, International
1994 Basic, Intermediate and Advanced Training in
Alternatives to Violence Project organised by AVP
Hungary
1996
Management Course in the Netherlands
organised by SOFT Tulip Foundation, the Netherlands
1996 Community Mediator Training organised by
Susanna Eveson, Canada
1997 Video Home Training organised by Dutch experts
Memberships:
East-Hungarian Art Therapy Association – President
―Palmetta‖ Sociocultural, Oecological, and Therapeutic Association – Vice
President
Hungarian Psychology Association
Hungarian Hypnosis Association
Hungarian Music Therapy Association
Hungarian Association of Symbol and Relaxation Therapists
Hungarian Dance and Movement Therapy Association
―Musiktherapie- und Musikmedizin-Studiengänge in Ungarn‖, project team
member
Lectures and Publications:
Symbols in the Bible (in: Art, Symbols and Therapies, Pszüchagógosz Bt.,
Budapest, 1995)
Psychology of Holidays (in: Art, Symbols and Therapies, Pszüchagógosz Bt.,
Budapest, 1995)
Sense and Sensibility (lecture, AVP Hungary Association, Szeged, 1997)
Music and Development (monthly workshops from January to July of 1997,
organizer and leader)
Music and Dance can Heal People (Hajdú-Bihari Napló, Vol. 65, No. 165,
p. 13, 17th of July, 1997)
Aldous Huxley: Doors of Perception (translator, Göncöl Publisher Company,
Budapest, 1997)
Andrew Feldmar: Rainbow of States of Consciousness (editor, Gigant Bt.,
Debrecen, 1998, first and second edtition)
Only the Physical Beauty is Fleeting (in: Lajos Győrfi: The Secret of Beauty,
Private edition of the author, Debrecen, 1998)
International Correspondence on Music Therapy on the Internet – Actual
Problems in Music Therapy (lecture, East-Hungarian Art Therapy
Association, 24th of April, 1998, Debrecen)
Quantum Physics and Music Therapy (lecture, Hungarian Music Therapy
Association, 9th of May, 1998, Budapest)
Relaxation and Music Therapy (lecture, East-Hungarian Art Therapy
Association, 5th of June, 1998, Debrecen)
People, Angels and Music – Dimensions of Existence (lecture, Conference of
Relaxation and Symbol Therapy Association of Hungary, September, 1998,
Debrecen)
Psychology of the Internet (Anniversary Book of Health Care Home for
Children, Toward the Light Foundation, Debrecen, 1999)
Communication (in: Handbook for Workers of Homes for Handicapped
People, Hand in Hand Foundation, Budapest, 1999)
Autism and Communication (in: Handbook for Workers of Homes for
Handicapped People, Hand in Hand Foundation, Budapest, 1999)
Music and Spontaneity (lecture, East-Hungarian Art therapy Association,
20th of October, 1999)
Computherapy and Music (lecture, National Congress of Hungarian Child
Neurologists, Neurosurgeons and Youth Psychiatrists, 27th of April, 2000,
Sopron)
Computherapy and Music – Chances for development of multiply
handicapped children (lecture, ―Psychology 2000‖ conference, 1st of June,
2000, Budapest)
Music therapy and Creativity (lecture, East-Hungarian Art Therapy
Association, 22th of November, 2001)
Art Therapy (interview, Debrecen Television, 27th of October, 2001)
They Found Each Other (book, downloadable from the website of the
Hungarian Book Club – http://www.uhu.hu, 2002)
Effect of Intensive Musical Education on the General and Individual
Development of Children (lecture, ―Sound and Soul‖ Conference, 13th of
April, 2002, Budapest)
Whose Interest Is It Anyway? (lecture, Conference of Behavioral Sciences,
9th of May, 2002, Debrecen)
Conversations about adoption (in: Mozgó Világ, periodical, Vol. 2002, No.
7, p.65-80)
Music and Intelligence (lecture and opening speech, ―Szép kelet, szép nap‖
Conference on Music Education, 8th of November, Pécs)
Are you my real mother, aren’t you? – Book about adoption (being
published in 2003 by Medicina Publisher Company, Budapest)
Language Knowledge:
1990 Higher state Examination in English